


DR. WAMPEN'S 

WORLD RENOWNED 
SCIENCE OP 

ANTHROPOMETRY 



[> 



J. HAPPLE-HUTCHESON 



SECOND EDITION 




Class TT ysj 

Book l^L^lG 






Copyright N° 



COPYRIGHT DEPOSIT. 



Digitized by the Internet Archive 
in 2011 with funding from 
The Library of Congress 



http://www.archive.org/details/drwampensworldre01hutc 



DR. WAMPEN'S 



WORLD RENOWNED 
SYSTEM of 



ANTHROPOMETRY 



AS SIMPLIFIED AND AMERICANIZED BY 

J. Happle-Hutcheson 

WITH HIS LATEST IMPROVED SET OF THIRTY-SIX 
UNIT GRADUATED SCALES 




Chicago 

J. HAPPLE-HUTCHESON, Publisher 

1903 



COPYRIGHTED 



L 



WBSAHYaJOONaKSS 

OfleOopy Received 

APK 22 law 

/jOowrwht Eniry 
eufos' 4 jufojfo 
7 &£> B ^' 






Entered According to Act of Congress, in the Year kjc^ 

in the office of the librarian at washington. 

All Rights Reserved by J. Happle-Hutcheson, Chicago. 



OUR PREFACE. 



To bring a calm contentment to the trou- 
bled heart, go forth our book, for thine the 
power. In making up this posy of culled 
sartorial bloom, we make no pretence of bring- 
ing anything of our own, except the string 
that holds them together; and if some worm- 
wood be found among the sweeter gems of 
thought, we sincerely trust that their whole- 
someness will make amends for their bitter- 
ness, for be it remembered that when we in- 
vite a friend to a feast, it is not all sweet- 
meats that we set before them; we also make 
it a point to provide something sharp and 
salt, both to whet the appetite and cause 
them to taste our wine with increased relish. 
One of the most prominently interesting char- 
acteristic features of the up-to-date and fain 
would be up-to-date tailor, is his ever insatiable 
desire to secure the best, that he may be the 
better able to produce the best. He is ever as 
anxious to secure the highest class technical 
knowledge obtainable, as he is desirous of 
obtaining the highest price for his work ; he 
delights in wearing the best and most stylish 
clothes, he eats the most sumptuous foods, 
lives in the most fashionable of residence dis- 
tricts, he aims at working only for the most 
exclusive intellectually refined, stylish and 
rich ; and when all is secured that is procur- 
able, his ambitious aspirations remain unsat- 
isfied ; his heart still yearns for a something 
newer and better. "Excelsior" is his never 
ending refrain. This innate desire of the up- 
to-date cutter to attain the unattainable has 
caused many of the smart-witted members of 
our craft to make a pretence of working out 



"improvements" on the unimprovable. In the 
year 1864, when working at the same cutting 
table with the world famous Dr. Thos. Dar- 
win Humphreys, who at that time, having 
conceived the idea of constructing his Angu- 
lator System, we asked him: "In what way 
do you purpose working out an improvement 
on the Wampen science?" He promptly an- 
swered : "I have a deep rooted conviction that 
I nor no other man can improve on Dr. Wam- 
pen's system of anthropometry; but there are 
many in the trade seeking for a something 
that they cannot get, and my angulator will 
cause many such who lack analytic ability to 
believe that in my new work they have se- 
cured a new principle in cutting, while I 
know that I shall only succeed in diverting 
their mind by a mere diversion of method ; 
obtainable by giving a verticillus twist to the 
construction lines of Wampen's unimprove- 
able anthropometrical science." Mr. Thos. 
Hogg— "Belfast" — as a young man was espe- 
cially endowed with a trinity of most enviable 
virtues, viz. : a high order of intellectuality, 
rare technical ability and a full measure of 
industrial concentrative power ; we know of 
whom we speak ; we having not only worked 
as journeymen on the same shop-board, but 
"made halfs together," and were fellow stu- 
dents of Dr. Wampen's science of anthrop- 
ometry. Mr. Hogg in due course became a 
popular contributor to our trade journals and 
after settling down in Belfast city, he pub- 
lished "The Belfast System," a copy of which 
got into the hands of one of our popular New 
York teachers of cutting and fashion report 



PREFACE 



publishers, who give a review of "The Belfast 
System" with most complimentary comments 
thereon anent "the new and most perfect 
scientically adjusted system of working out 
the degrees of chest and waist disproportion." 
The review of the work as published was a 
source of much amusement to British cutters, 
who freely expressed their commiseration for 
those, who by force of unfortunate circum- 
stances were constrained to receive their tech- 
nical education from teachers of cutting, so 
sublimely innocent of a knowledge of modern 
scientific sartorial art as to think that in "Bel- 
fast" incorporating into his system Wam- 
pen's science of the degrees of disproportion ; 
that they had landed on a heretofore un- 
known scientically adjusted method of distri- 
bution of goods for very small and extremely 
large waists, all of which goes to prove how 
lamentable far behind present day up-to-date 
methods are the average American teachers of 
the art of scientific cutting, many of whom 
are self-conceited, unblushing, brazen-faced 
plagiarists, while a few are honest, well mean- 
ing men, who have by diligent study suc- 
ceeded to some extent in working out im- 
provements on some of the primeval warped 
teachings of distorted truths. These men 
never having had an opportunity of seeing or 
knowing of the existence of anything better, 
we are not inclined to regard them as the will- 
ful makers of abstract wrong; nevertheless 
their panoply of misconception of correct 
scientific principles makes them spoilers of 
concrete right, they having innocently ac- 
cepted without analytical research seeming 
truths that have grown up on some concealed 
root of error. It is but natural for those who 
study and adopt the practice of Dr. Wampen's 
science to desire some knowledge of the au- 
thor of such a world famous work; we there- 
fore insert at back of book copy of our world's 
fair year lecture on Wampen and his works, 



a reference to which will inform the reader 
how Dr. Wampen became induced to produce 
his system and thereby teach scientific tailor- 
ing to tailors. The reader, however, must 
ever bear in mind the fact that a knowledge 
of how Wampen was induced to> construct his 
system, and a mere possession of our book 
will not endow the owner with a practical 
scientific knowledge of the art of cutting, and 
that mere rules will never cover the whole mat- 
ter well enough to determine practice without 
close study, but a careful reading of our in- 
structions, and a diligent study of the prac- 
tical application of the science as we present 
it, shall never fail to produce the most satis- 
factory results. It has been claimed, and we 
are not in a position to deny it, that there is a 
large number of young cutters who have had 
little or no opportunity of ever hearing or 
knowing anything of the Dr. Wampen science, 
because of the fact of their not being familiar 
with the higher class current literature of our 
trade. Thousands upon thousands of cutters 
throughout this country, we are told, have 
never read any technical work except, perhaps, 
some monthly or semi-annual report of fash- 
ion. Having reason to believe that this is in a 
great measure true, we have quoted ex- 
pressions of opinions of a few from among 
the many that have from time to time given 
expression to their views concerning the su- 
perexcellence of the Wampen system, and in 
making our selection we have been especially 
careful to quote only men that are well known 
to the trade as TAILORS, whose intellectual- 
ity, technical knowledge, practical experience 
and integrity of character, all combine to make 
their praise valuable and their censure feared. 
Commendation being the reflection of virtue, 
its breath is sweet when bestowed by those 
whose own high merit deserves the praise 
they give. 



OUR SECOND EDITION. 



Cicero A. Pagan, philosopher, born one hundred and six years before Christ, tells us: 
"There is no way by which man can approach nearer to the gods than by contributing to the 
welfare of his fellow creatures." All of which is very encouraging to us, seeing that ever since the 
publication of our first edition of the Americanized Wampen, cutters and employers of every class of 
trade continue telling us of how a knowledge of our system completely dispels from their routine 
work the heretofore everlasting gloom of uncertitude, causing flowers of gladness to bloom in 
hearts that were fallow and made barren by the biting frost of disappointment. Trusting to 
achieve still greater renown, we have placed our famous American Trouser System under the same 
book cover as our coat and vest systems. We do so with a manifestly "sane and conservative" 
knowledge of the fact of our coat, vest and trouser systems, each and all, being self-evi- 
dently, indisputably perfect. The fundamental principles we herein teach have been tested 
both ways, by disbelief and by belief, by experiments of their opposites and by experiments of them- 
selves, and are no longer disputable. Because they are not matters of opinion or theory, but of 
demonstration, they have been ratified and established as THE sartorial art doctrines in which are 
engraven the device, "Excelsior !" Always beckoning and alluring the tailor on and on, urging him to 
ascend to still greater altitudes in the knowledge of progressive tailoric art. Of course, the facts 
herein set forth may be doubted, and even denied, by men who, in their impulsive, undue haste, are 
ever prone to jumping at premature conclusions. Just as unbelievers up to the beginning of 
the nineteenth century denied the spherical form of the earth : the same as with Newton's theory 
of the solar system, which, with unreserved obstinacy, was denied as late even as fifty years ago; 
but, like the aforementioned cases, our systems have passed that stage where it is necessary to 
discuss the absolute validity of the principles we teach. In their knowledge of that fact prudent 
men will not readily descend to the assailment of the denials of producers and teachers of defective 
methods, or that of fakirs and simpletons ensconced in entrenchments of technical ignorance 
and bigotry, because it requires self-knowledge to see it, and he that can perceive it has not got it. 
Read thoughtfully, critically, analytically, gathering knowledge and storing up wisdom, which is 
dangerous only to ignorance, dishonesty and falsehood. 

J. HAPPLE-HUTCHESON. 



Index 



Page 
Preface 

Scientific Artistic Coat Cutting 9 

Marvelous Progress of Americans 10 

Reverence for the Cutters' Old Stepping Stone. . . .11 

A Sartorial Art Treasure 11 

American Style of Grading an Excellent Bluff. . . .11 

Exceptional Intelligence of Cutters 12 

Antique Divisional Methods 12 

Common Sense Insufficient 13 

Dr. Wampen's System Condemned 13 

Anthropometry 14 

Glow Worm Light Preferred 14 

Old Has Beens 15 

A Dimly Understood Fact 15 

Masculine Proportions 15 

Grecian Anatomical Errors 16 

Many Different Types of Man 16 

Nationality and Height of Our Soldiers of the 

Civil War 16 

Man's Total Height, Tallest and Shortest Race of 

Men 16 

An Approximate Syllabus 18 

Wampen's Model iS 

Aesthetic Science 19 

The Greatest Sartorial Art Scientist 19 

In the Realm of Real Sartorial Art 20 

The Dressing of All Men Alike 21 

Many Acceptable Forms of Elegance 21 

Pick Them Out and Place Them 23 

British Tailors the Most Famous 24 

Complexion and Color Effects 25 

Adductive Ability 25 

Photography and Tailoring 25 

The Yachtman-Like Doctor 26 

Responsibility of Teachers 26 

Straining His Buttons 27 

Just Grown There 27 

The Cutter and Journeyman's Masterpiece 28 

New York Sartorial Art Horrors 28 

The North Pole of Dudeism 29 

Thos. Carlyle's View of Dress 29 

Shake Off the Blues 30 

More in Sarcasm Than Praise 30 

Historical Paintings and Tailoring 31 

How Men Should Dress 31 

The Study of Color Effects 33 

The Cutter Like the Doctor 34 

Misconception of the Height Theory 34 

What Dr. Wampen Says 36 

The Great Bulk of the Cutter's Troubles 36 

Competing for Cutting Honors 37 

The Impetuous American 36 

Another Man's Brains 38 

The HappleHutcheson American Trouser 



Page 

G. W. DuNah on the Production of Style 3B 

Sartorial Outline Beauty 41 

How to Measure 41 

A Paradoxical Element in Measuring 42 

There Are No Actual Measurement Systems 42 

Hot Air Bellows 43 

Our Initial Alphabetical Auxiliary 43 

Blaming and Damning the Journeyman 44 

A Cracker-Jack Cutter 44 

Seven Hundred Suits Per Day 45 

John Sandelands Predicts Universal Adoption 45 

Gold Medalist James Veale 46 

Making Coats by Electricity 47 

Our Risibles Strained 48 

Most Happy Results 48 

A Storm of Misfits 48 

How Does It Happen? 49 

Preparing To Draft and How To Do It 50 

Skirts, How to Draft 53 

Sleeves, How to Draft 53 

Sleeveology 54 

The Best Test For Accurate Sleeve Adjustment. . .55 

So Delighted With Wampen's Sleeves 55 

The Degrees of Disproportion, and How to Work 
Them 56 

How to Work the Second Degree of Chest and 

Waist 57 

Amount of Allowance, For Making Up, of all the 

Varied Styles of Coats : 57 

Dress Coat Drafting, etc., etc 58 

Dress Coat Lapels and Individualism 59 

Dress Coat Skirts 59 

Double Breasted Full Dress Prince Albert 60 

The Prince Albert Proper 60 

Prince Albert Skirts 60 

How to Handle Shoulder and Scye Depth Levels. .61 
J. H. Swigert Tells How and Why He Made His 

Mental Wampen Vow 63 

How Chas. J. Stack Slipped a Wampen Cog 63 

The Sacque Coat and How To Draft It 64 

To Draft the Back 64 

To Draft the Forepart 65 

The Double-Breasted Sack 66 

The Single-Breasted Chesterfield 67 

The Double-Breasted Chesterfield 67 

American Hotch Potch of Trade Nomenclature. . .67 

Vests, How to Draft, etc., etc 69 

High Shoulders and Short Necks 71 

Long Necks and Sloping Shoulders 71 

A Tailor With a Record 7° 

The Hutcheson-Wampen World's Fair Year Lec- 
ture, as Published and Sold to the Trade by 
the Master Tailors and Custom Cutters' Asso- 
ciation 

System 74 



EVERY TAILOR HIS OWN TEACHER 

SELF-TUITION MADE EASY BY OUR SIMPLIFIED, AMERICANIZED POPULAR 
PRICED EDITION OF THE WORLD FAMOUS 

DR. WAMPEN'S SYSTEM OF SCIENTIFIC 
ARTISTIC COAT CUTTING 



Like the blast furnace transforming a crude 
mass of ore to- a block of precious metal, the 
world renowned Dr. Henerich Wampen's sys- 
tem of anthropometry has reduced the here- 
tofore crude jumble of the cutters' garbled 
methods to a truly scientific, simple system 
of absolute accuracy. Unfortunately for the 
great bulk of tailors, the learned doctor has 
couched his system in the most lofty pedantic 
phraseology of the learned scientific anatomist, 
and veiled his figures or measurements in 
algebraical hieroglyphics, nearly all of which 
are as unintelligible to the average tailor as 
the totemic ancestral drawings of our North 
American Indians are to the writer. The 
reason why the learned doctor indulged in the 
use of such a ponderous style of academical 
language when writing up his system of draft- 
ing may be partly surmised from the felicitious 
fact of his being financially independent of the 
cash accruement obtainable by a large sale of 
his work. It was not mercenary motives that 
prompted Dr. Wampen to produce his famous 
system of anthropometry, but his innate ar- 
dor for scientific research. When remonstrated 
with anent the imprudence of publishing a 
work on scientific cutting, couched in language 
so far in advance of the intellectual grasp of 
the rank and file of our trade, he with char- 
acteristic academic hauteur replied : "Tailors 
aspiring the adoption of an absolutely ac- 
curate, scientifically adjusted system of artis- 
tic cutting must read up to me ; I cannot write 
down to them." What Dr. Wampen so 



brusquely refused to do we shall earnestly en- 
deavor to accomplish by bringing within the 
easy grasp of the average intellect of our fel- 
low-craftsmen ; this system of cutting, which 
is universally declared the most profoundly 
potent sartorial art science ever produced. 

So as to successfully secure the thorough 
accomplishment of our self-imposed task of 
preventing this richest technical treasure of 
our art from being permitted to remain un- 
known to a very large number of cutters whose 
lack of learned anatomical phraseological 
knowledge bars them from reading Dr. Wam- 
pen's works understandingly, and also that 
class of equally worthy members of our trade 
whose enfeebled finance deprives them from 
the edifying enjoyment that is ever found in 
the possession of a technical library of the 
most complete character, in compiling our 
book we aim at furnishing these requirements 
by eschewing the unnecessary use of Dr. 
Wampen's learned brain-splitting diction, and 
selling our book at the lowest margin of profit, 
combined with a diligent adherence to the 
policy of calling a spade a spade, for we do 
not deem it politic to advise our students to 
place the inch tape on the "base of the fifth 
cervical vertebra" when we mean the nap-o'- 
the neck, we say so, nor do we speak of "a 
convex dorsal scapula" when we mean a prom- 
inent shoulder blade, or "the acromin point" 
when we mean the shoulder point, nor "the 
clavicle" when we mean the collar bone; neither 
do we advise measuring down to "the base of 



10 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



the twelfth dorsal vertebra" when we mean 
the natural waist. We also know that the 
fit and form of a coat front will not be im- 
proved by advising a cutter to add so much 
on for making up at "the apex of manubrium 
of sternum, mesosternum and base of xiphi- 
sternum," when we simply mean the top, the 
middle and bottom of breast bone ; neither do 
we believe that a skirt will set with cleaner, 
easier grace because of our directing the cutter 
to measure over the most prominent point of 
"glutaeus maxcimus" when we wish him to 
take the seat measure. In simplifying Wara- 
pen's work so that the most unerudite tailor 
may read it understandingly and use it with 
happy success in his every day practice, we 
draw none of the sap of genius away from it ; 
we only prune off the doctor's superfluous 
pedantic anatomical phraseological dead lum- 
ber without divesting the system of any of its 
rarity of real scientific, practical virtue. And 
we make no pretence whatever at improving 
the elemental principles of this unimprovable, 
scientifically accurate, anthropornetrical sys- 
tem of artistic cutting, for 

"To gild refined gold, to paint the lily, 
To throw perfume on the violet, 
To smooth the ice, or add another hue 
Unto the rainbow, or with taper-light 
To seek the beauteous eye of Heaven to 

garnish, 
Is wasteful and ridiculous excess." 



THE MARVELOUS PROGRESS OF 
AMERICANS. 

Our high respect for our own veracity and 
the intelligence of our readers, combined with 
a knowledge of indisputable facts, saves us 
from a ridiculous indulgence in the too com- 



mon error of sycophantic national flattery, 
as practiced on Americans by foreign visiting 
diplomats, actors, etc., who "wink with the 
other eye" while they advance the erroneous 
claim that young America, strong, vigorous, 
and full of promise as she is, is also the peer 
of old Europe in the domain of the higher 
branches of literature, industrial art, and sci- 
ence. We frankly declare our belief that 
such is not the case ; we nevertheless are 
equally frank in stating that during the last 
fifty years, or more perhaps, no other peoples 
in the world have by adoption, adaption, and 
inventions numerous, made such rapid and ro- 
bust progress from primeval conditions as the 
Americans have in the arts and science of 
agriculture, mechanical, steam, and electrical 
engineering, as well as commercial, political, 
and surgical knowledge and sociological wis- 
dom. And while our own trade has to a high 
degree participated in the ripple of this great 
progressive whirl, it is nevertheless strangely 
and grievously discouraging to note the fossil- 
ized tenacity with which American teachers of 
cutting cling to the antique, inaccurate method 
of drafting by thirds, fourths, sixths, and 
twelfths, plus and minus an inch, etc., as laid 
down by making dim indentations on the cor- 
ner of the common square, or by sets of al- 
phabetic scales — methods that were in line 
with progressive sartorial art when tailors 
were coming out to this country in the wake 
of the Mayflower. 

When brought brow to brow with Dr. 
Wampen's sartorial art science, about the best 
thing that can with truth be said in favor or 
praise concerning these divisional minus and 
plus petrified relics of antiquity, which in the 
tallow-dip age of our profession were received 
as marvels of sartorial art, when in 1802 
Duncan MacArra evolved and taught the prin- 
ciple, is that they may be regarded as excellent 
methods for quickening the sense and training 



PROGRESSIVE ANTHROPOMETRICAL. SARTORIAL ART SCIENCE. 



11 



the judgment — a course of study through 
which, on account of the non-progressive 
policy of American teachers of cutting, many 
unfortunate young men are compelled to tra- 
vel ere they become good cutters. But stormy, 
rough, and thorny is the road, with its many 
alterations, misfits, and recriminations numer- 
ous, accompanied with voluminous profanity ; 
while worry, anxiety, doubt, and despondency 
galore have to be experienced and endured be- 
fore any degree of proficiency is attainable. 



REVERENCE FOR AN OLD STEPPING 
STONE. 



cient times, when the world is ancient, and 
not those which we account ancient, ordine 



retrograde" 



A SARTORIAL ART TREASURE. 

Not to know the Dr. Wampen system is to 
be in fact destitute of a knowledge of the 
richest treasure of productive sartorial art sci- 
ence, enabling the cutter to select a thirty-six 
unit tape for any size from twenty-three to 
fifty-two or larger, by which he proceeds to 
draft the very small or extremely large with 
the same unconcern as if drafting a normal 
thirty-six with the common inch tape. 



While we keep the antique thirds and 
fourths rule of drafting in reverential remem- 
brance as a most excellent old stepping stone 
in the progressive march of sartorial art, we 
freely concede the wisdom of its having been 
long since discarded throughout Europe by all 
progressive, up-to-date teachers of cutting; 
discarded not because of its being old, but 
because of its inaccuracy and complexity as 
compared with our modern system of abso- 
lutely true, half-breast eighteen-unit grad- 
uated tapes, as used in drafting by the all-em- 
bracing Wampen science of anthropometry. 

In giving expression to our reverential feel- 
ings for the antiquated thirds and fourths, we 
have the able support of the learned Lord 
Bacon, who says : "Surely the advice of the 
prophet is the true direction in this matter, 
'Stand ye in the old ways, and see which is 
the good way, and walk therein' (Jer. vi: 16). 
Antiquity deserveth that reverence that men 
should make a stand thereupon, and discover 
what is the best way; but when discovery is 
well taken, then make progression. Antiquity 
is the world's youth ; these times are the an- 



AN EXCELLENT BLUFF. 

In the very face of our much-vaunted tech- 
nical progress it is still the vogue with Ameri- 
can instructors to teach that most reprehen- 
sible method of grading sets of block patterns 
by "staging it" from an accepted perfect thirty- 
six model to an accepted perfect forty model, 
and so on. While we, in courtesy only, con- 
fess this old-fashioned dressmakers' method of 
grading to be theoretically perfect and a most 
excellent hypothetical bluff to be worked off 
on cutters and employers that have never ac- 
quired a technical knowledge of our trade, we 
unhesitatingly declare it a huge bungling mis- 
carriage of sartorial art, a mere old-fashioned 
dressmaking subterfuge for producing a 
larger or smaller size of gown. If this method 
of grading possessed noteworthy merit it 
would not be necessary to begin over again 
by drafting a model for every fourth size ; 
and to claim that this process of "staging it" 
is good enough for producing sets of blocks 
for the ready-made and mail-order trade is 
indeed a lame excuse for the continuance of 



n 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



a principle that is admittedly wrong, more 
especially so when an absolutely correct scien- 
tific principle is within such easy reach. 



EXCEPTIONAL INTELLIGENCE OF 
CUTTERS. 

In keeping with our common practice we 
speak frankly, rejoicing in a knowledge of the 
fact of the great bulk of cutters being men 
of exceptional intelligence, and therefore ever 
anxious for, and glad of, the opportunity to 
add still more to their wealth of wisdom, 
knowing as we do that such men always have 
a deep sense of gratitude in their hearts for all 
who are willing to respectfully show and are 
able to prove to their fellow-crafts that they 
are wasting much mental tissue and physical 
fiber by the use of wrong, imperfect, clumsy, 
awkward, unreliable methods. While we hope 
not to be misunderstood by the intelligence of 
the trade, we of course know that there are a 
number of narrow-minded, self-satisfied cut- 
ters of the scatter-brain order who, in place of 
being thankful to those that endeavor to set 
them right, get mad and go off at half-cock, 
firing volley after volley of abuse. If such men 
will only have patience, and read us to the 
end, no matter if they cannot agree with us, we 
doubt not they will at least be able to say that 
our book has led them to think with profit of 
things they had never thought of before. To 
all such we say, do not in your haste cast the 
book aside as the work of a visionary dreamer, 
or perhaps as sheer fudge ; read us to a fin- 
ish, then let them give frank, intelligent ex- 
pression to their ideas, whatever they may be. 



ANTIQUE DIVISIONAL METHODS. 

Any principle that enables the cutter te> do 
his work with greater accuracy, ease to him- 



self, and profit to his employer, must and shall 
commend itself to every intelligent, progress- 
ive cutter who has experienced the more or 
less inevitable concomitant worries of a daily 
discharge of cutting-room duties. What the 
ready reckoner is to the banker, commission 
merchant, and insurance agent, the Wampen 
system is to the cutter, and stands much the 
same, by comparison with antique divisional 
methods, as the now perfect scientifically con- 
structed hundred-mile-an-hour railroad engine 
of today does with George Stephenson's first 
locomotive, "The Rocket." Learned astrono- 
mers, mariners, engineers, land surveyors, ar- 
chitects, painters, and sculptors all use the unit 
system as applied to' Dr. Wampen's anthro- 
pometrical science. A lad comes in to get 
measured ; he is 32 breast ; his father also gets 
measured ; he is 52 chest, or more, as the case 
may be ; the unit tape marked 32 will produce 
the boy's coat without the use of a minus or 
plus affix, just as the common inch tape will 
produce the 36 breast ; while the unit tape 
marked 52 will in like manner produce the 
father's 52 chest measure coat and vest, each 
unit being graded to the thousandth part of 
an inch and made to represent the common 
inch tape. The contraction, expansion, or di- 
vision of an inch by a 1 / 33 or 1 / 52 is a too 
delicate mathematical operation to be practical 
in the every-day routine work of the cutter. 
Dr. Wampen, however, has completed his 
work on a strictly correct scientific basis, giv- 
ing to the cutter the results of his hair-split- 
ting variations in a form so simple and abso- 
lutely true that we instinctively soliloquize, 
"How the mischief did I not tumble to that 
idea myself?" The unit, except in the thirty- 
six size, is always less or more than an inch, 
but always a fractional part more or less than 
a thirty-sixth of the ruling quantity, the large 
sizes being a fraction less, while the small are 
a fraction more. 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



13 



COMMON SENSE INSUFFICIENT. 

While the misguided continue to blindly ac- 
cept and practice the misconceived, primitive, 
warped teachings of mere tuition-fee-grabbing 
hypothesists, thoughtful, well-informed tailors, 
who sadly view the dismal condition of the 
grim-faced, care-worn, all-day brain-strained 
cutter striving to master the minus and plus 
complexities of divisional systems, are sym- 
pathetically constrained to exclaim, "How 
long, O Lord, how long" shall tailors endure 
the affliction of blind contributance toward the 
sumptuous support of those sordid, groveling, 
parasitical false teachers of shallow, pucker- 
ing, crippled theories, of abstract truth, mere 
sophistic subtleties without comprehension, 
paradoxical without ingenuity, filling not the 
lofty purpose of extending but checking the 
onward and upward progress of sound, prac- 
tical, scientific, technical knowledge. But as 
we have already said, we nevertheless frankly 
confess our reverential admiration of the old 
thirds and fourths methods, just as we in like 
manner reverently view the pyramids of 
Egypt and the wall of China, although now 
a practically useless burden on the face of the 
earth. We can with deep interest listen to the 
most minute descriptions of them, and at a 
vast expenditure of time and money would 
enjoy traveling many thousand miles to see 
them, knowing full well that, useless as they 
are, if we dare lay sacrilegious hands on them 
to deface or destroy them, our memory would 
be held in abhorrence. But when teachers of 
these old minus and plus divisional systems 
tell us that by the application of a little' com- 
mon sense we will experience no difficulty 
whatever in making adjustments to suit the 
requirements of modern demands, we reply 
that common sense is totally insufficient where 
the most uncommon sense and the best scien- 
tific genius are required ; and they are the 
only expedients through which we may rea- 



sonably hope to attain success. The sooner 
American teachers come to a realization of the 
fact that present-day technical exigencies de- 
mand a higher standard of qualifications than 
is attainable through a study of their old will- 
o'-the-wisp, antiquarian relics of tallow-dip 
colonial days, the better will it be for all con- 
cerned. We envy none who know more than 
we do, but we do pity those who know less. 



DR. WAMPEN'S SYSTEM CON- 
DEMNED. 

In certain quarters objections to the use of 
Dr. Wampen's system have been unwisely yet 
vehemently urged on the strength of the 
premises of the Wampen science being so 
absolutely complete that the adoption of it ob- 
viates the necessity of thought, substituting a 
general formula in the room of personal in- 
tellectual effort — a practice that tends to 
weaken the reasoning faculties. To such chat- 
terbox ideas we briefly answer: The Wampen 
system of cutting is the ripe fruit of a pro- 
found scientific scrutiny of cause and effect, 
and is revered by the most intelligent members 
of our profession as a great monumental work 
of true scientific sartorial art discovery ; its 
bearing upon the discipline of the intellect sets 
us at liberty to engage with greater facility in 
our more arduous toils, and as a happy result 
of an advanced state of science we are per- 
mitted and even called upon to proceed in the 
study of higher problems than those hereto- 
fore contemplated ; and the practical inference 
is obvious. The cutter's chief function is the 
producing of garments that will becomingly 
fit and please his patrons. And when this 
result is satisfactorily achieved it will surely 
be conceded that the system that requires the 
least expenditure of time and brain tissue is 
the most desirable. If through the advancing 



14 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



power of scientific methods we find the pur- 
suits on which we are engaged afford no 
longer a sufficiently ample field for intellec- 
tual effort, the remedy is simple : Proceed, we 
say, to higher inquiries, and tackle difficulties 
yet unsubdued. We need not fear to commit 
ourselves to such a course, for we have not 
yet arrived so very near to the boundary line 
of possible knowledge as to suggest the rather 
grave apprehension that the lack of scope will 
prevent the exercise of our inventive faculties. 



ANTHROPOMETRY. 

Samuel Key worth, London, author of 
"Form Growth," in one of his essays says : 

"Anthropometry. — The simple, literal mean- 
ing of this term is Man Measurement. 

"It is an expressive term and ought to be 
generally accepted by the trade. Besides its 
etymological meaning, anthropometry has al- 
ready an extended, peculiar significance, and 
the more it is received as a tailor's technical 
term, the fuller, richer, and more useful will 
it become. Words live and grow. As they 
grow they gather around themselves an ever- 
accumulating mental substance, either of his- 
tory, of science, of thought, of suggestion, or 
practical utility. 

"Anthropometry at once reminds one of 
Wampen. But Wampen did not make the 
word ; he found it already made. He added 
to its wealth of meaning. Present-day teach- 
ers should do the same. 

"You know the story, how the young uni- 
versity student, having his attention drawn to 
the subject of tailoring and cutting, went 
straight away, in his pursuit of knowledge, to 
the figure itself. How he anatomized, meas- 
ured, compared both statuary and living mod- 
els. How, under his masterly hand, an elabo- 
rate sectional system of figure-division arose, 
based on the two elements of length and 
width. How he, the outsider, plunged, as it 



were, into that unexplored region where others 
had so long wandered, like Livingstone and 
Stanley into Darkest Africa ; nor leaving it 
until, by line, compass, and theodolite, the 
region had been mapped out for future travel- 
ers ; mapped out for unsentimental wealth- 
makers who always come along to pick up the 
gold which others have extracted. 

"Wampen's work on anthropometry is as 
essential to a full knowledge of the science of 
cutting as are Darwin's books to an inquirer 
into the evolutionary theory." 



GLOW-WORM LIGHT. 

American teachers of Old Fogy, Mossback 
& Co.'s divisional methods seem satisfied as 
long as they can rake in the cash, to plod along 
scorning the brilliancy of the midday sun, 
preferring rather to continue teaching their 
students to do their work by the dim light of 
the glow-worm, while they with a bland smile 
suavely explain to their over-credulous, duped 
pupils that by a process of guessing, which 
they euphoniously call "judgment," they can 
come near enough to it to meet all the practical 
requirements of our trade — a statement which 
simply means that they are cognizant of the 
fact of their teaching a system of cutting that 
lacks completeness. Scorning the adoption of 
more enlightened principles, they persist in 
teaching cutters to continue working for suc- 
cess by the use of methods that propagate a 
marvelous amount of concealed vexation and 
secret despair. 

Though plunged in ills, and exercised in care, 
Yet never let the noble mind despair ; 
When press'd by dangers, and beset by foes, 
The gods their timely succor interpose ; 
And when your courage sinks, o'erwhelmed 

with grief, 
Dr. Wampen's unforeseen expedients bring 

relief. 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



15 



OLD HAS-BEENS. 

Ask any teacher of the old plus and minus 
divisional systems that you meet anywhere 
between the Pacific coast and Atlantic sea- 
board to explain why they continue to teach 
the practice of a false method of locating the 
cardinal points by thirds, fourths, and sixths, 
minus or plus one inch, etc., etc., as dimly 
marked on the corner of the common' square, 
and not one in a hundred can present a rea- 
sonable excuse, because their hypothesis is log- 
ically, theoretically, and mathematically in- 
correct, and therefore practically false. These 
men, when drafting a thirty-six size, add one 
inch to, or subtract one inch from, say a third, 
a fourth, or a sixth, as the case may be, which 
means that they locate their points by a process 
of adding or subtracting one thirty-sixth to 
or from their divisions of the breast measure ; 
and while they stand ready to swear that the 
addition or subtraction of a thirty-sixth at a 
given point is absolutely correct, they will un- 
wittingly contradict themselves by proceeding 
to draft a fifty or maybe a twenty-five size, 
and in like manner add to or subtract from 
their divisions one inch, as in the thirty-six 
size, which means that in the case of the large 
size they have produced their draft by the 
addition and subtraction of a fiftieth in place 
of a thirty-sixth, as in the first case, which is 
declared correct, and in the case of the small 
size they add or subtract by a twenty-fifth. 
Hence the cause of so much trouble when 
called on to produce either small or extra large 
sizes ; and when pressed for an explanation 
these teachers of so-called sartorial art science 
only give us for an answer an evasive com- 
ment, a plausible bluff, a dull, far-away look 
or vacant stare, which calls to our memory 
the lucid statement of Mr. Back, who on a 
memorable occasion said : "Place these sys- 
tems on the dissecting table alongside of the 



Wampen science, and they slide into oblivion 
like a frog into a pond." We earnestly rec- 
ommend the relegation to the receptacle for 
the discarded all these "good old has-beens," 
i. e., divisional systems, more especially such 
as have a minus or plus affix guess. True, a 
little incomplete detail may or may not cause 
a misfit, but the accumulation of a little mis- 
placed trifle at this point, and the lack of a 
trifle at that point, all combine to give the 
cutter, the customer, the bushelman, and the 
boss no end of worry, loss of temper, and ex- 
pense. 



A DIMLY UNDERSTOOD FACT. 

Cutters who cling to' the now antiquated, 
ever-unreliable method of drafting by aliquot 
parts of the breast measure, with their plus 
and minus accompaniment, ignoring our more 
expeditious principle, most undoubtedly stand 
square in their own light, working at a need- 
less expenditure of time and useless waste of 
brain tissue. It is a long-established but 
seemingly dimly understood fact that the hu- 
man form as it increases in bulk does not in- 
crease in the same ratio all over the body. To 
meet the exigencies of this rather abstruse 
complexity, the learned Dr. Wamperi's ana- 
tomical knowledge and scientific trigonomet- 
ric, geometric wisdom enabled him to con- 
struct and present to us his system of anthro- 
pometric graduation in such concise lucidity 
and correct, practical simplicity that on having 
it explained to us we at once become puzzled 
to know the actual depth of our stupidity or 
lack of instinctive intuition. 



MASCULINE PROPORTIONS. 

The ancient sculptors were the first to make 
a special study of human proportions and lay 
down certain prescribed canons or conven- 



16 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



tional rules and individual notions, which were 
recognized by the Egyptians and accepted by 
the Greeks, as, for example, the famous statue 
of Polycletus. Those ancient artists deviated 
from their accepted standards according to the 
individual conception which they desired to 
infuse into their subject, just as thoroughly 
posted Wampenite cutters do< in producing 
characteristic garments most becoming to the 
varied individual requirements of their pa- 
trons. When the sculptor desired to represent 
a Jupiter he developed the subject less by a 
rigorous adherence to nature than by indi- 
vidual ideality, producing a form of forehead 
that was suited to his own perception of the 
character. Like the properly instructed artis- 
tic cutter, who knows just how to correctly 
adjust the location of shoulder and side seams 
of a coat for a very short-necked, high-shoul- 
dered customer, producing a most desirable 
optical deception, making the shoulders to 
appear less square, the cunning sculptor or 
portrait painter, desiring to make the face 
angle to appear enlarged, accomplishes his 
purpose by placing the ear a trifle lower. 
When those artists aimed at representing no- 
bleness and grace, the neck was made bare, 
with the limbs rounded and slim. When the 
sublime was desired, the head, the limbs, and 
the joints especially, were made, larger, broad 
shoulders signifying strength, narrow shoul- 
ders youth or effeminacy of character. The 
trunk all of one size, or drawn in at the waist, 
has also its significance ; for example, the 
pelvis is contracted when it is the desire to 
awaken modest sentiments, or enlarged when 
intended to excite passions of an opposite 
character. From all of these high-art guides 
to the artistic production of characteristic fea- 
tures the intelligent young aspirant for sarto- 
rial art fame will be able to draw useful, prac- 
tical deductions for the embellishment of his 
work. 



GRECIAN ANATOMICAL ERRORS. 

With the ancient Greeks rigorous exact- 
ness was so little sought after that they seemed 
to think lightly of perpetrating egregious ana- 
tomical errors, often making the limbs un- 
equal. In the Laocoon the right leg is shorter 
than the left, and in one of his sons the case 
is reversed ; the Pythian Apollo and the Venus 
de Medici had each one leg shorter than the 
other. The various art schools succeeding the 
Renaissance period were all inspired with 
ideals anent the production of characteristic 
features similar to those of the Egyptians and 
the Greeks. In Italy height of figure was ex- 
pressive of dignity ; in Spain the figure was 
reduced in size, with a view to denote delicacy 
of form ; in Holland it was made large to 
illustrate realism, while in France the head 
only was exaggerated, with a view to exciting 
greater attention. It will therefore be seen 
that the artistic and the anthropological con- 
ceptions are somewhat contradictory, the one 
to the other; the one idealizes the beautiful, 
while the other searches after the true. Art, 
then, ought to rest upon anthropology, in that 
its whims are tolerated under the express 
conditions that they do not go beyond the 
individual variations which anthropometry re- 
veals to it. If it be true that there can be no 
art without feeling, neither can there be any 
without desism. 



MANY DIFFERENT TYPES OF MAN- 
KIND. 

The different races of mankind give us a 
great plurality of types of ideal human pro- 
portions, every tribe of men having its own 
distinctive physical normality and each of 
which has its many subnormal conditions ; its 
agriculturists, its tradespeople, and its many 
groups of learned professionals all have their 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



17 



distinctive normal attribute. It is therefore 
highly essential for a first-class fine-trade cut- 
ter to have a familiar knowledge of all the 
varied normal conditions. We say so although 
we are aware that the more fully conversant 
we are with the detail facts, the more timidity 
do we experience when asked to describe the 
boundary outlines of the normal man. 



OUR SOLDIERS OF THE CIVIL WAR. 

The muster rolls of the Union armies of the 
rebellion show that out of 2,000,000 in round 
numbers three-fourths were native Americans ; 
Germany furnished 175000; Ireland, 150,000; 
England, 50,000 ; British America, 50,000, 
and other countries, 75,000; in all about 500,- 
000 foreigners. Forty-eight per cent of our 
soldiers were farmers, 27 per cent mechanics, 
16 per cent laborers, 5 per cent professional 
men, and 4 per cent were of miscellaneous vo- 
cations. The average height of our soldiers 
was 5 feet 8|- inches, including the large num- 
ber of recruits from 17 to 20 years of age. 
Out of about 1,000,000 men whose heights 
were recorded there were 3,613 over 6 feet 3 
inches and some were over 7 feet. 



MAN'S TOTAL HEIGHT. 

The tallest race of men that we know of are 
the untamable, unconquerable, cannibalistic 
tribe of Seris Indians of Tiburon Island. Their 
average height is more than 6 feet ; they are 
limber-limbed, stalwart, ferocious, hideously 
repulsive, and of the most degraded order. 
Their women, who frequently visit Sonora, 
are said to be beautiful. The bucks in recent 



years have made sorties on the ranchos of the 
mainland ; going as far as Guaymas, they 
carried off to their insular home Mexican 
women and children, taking them across the 
Angostura del Inferno (the Strait of Hell). 
At this point their island is only two miles 
from Sonora. President Diaz was prepared 
to exterminate them, but before he gave the 
command the Washington ethnological bureau 
asked to be allowed to collect data of this 
queer race of people before it was made ex- 
tinct ; and that was the last we heard of either 
data or expedition. The next tallest race of 
manhood are the Patagonians, whose average 
height is 5 feet 1 1 inches ; and in searching 
our memory while we write, the smallest race 
of men that we remember knowing anything 
of are a tribe of nomadic South African Bush- 
men, whose average height is said to be 4 
feet 6\ inches. The Irish and Scotch average 
5 feet 8-J inches ; the English, 5 feet 8 inches ; 
the Scandinavians, 5 feet 7 inches ; the Chinese, 
5 feet 4 inches, and the Lapps, a branch of 
the Mongolian race, average only 5 feet. It 
will thus be seen that the tallest race of men 
are a trifle less than one-fourth taller than the 
shortest race of mankind. Struck at first 
sight by the effect of this difference of stature, 
we are apt to form excessive notions anent the 
amount of difference ; but when we stop and 
contrast it with the disproportions of com- 
parative size as seen in other animal species, 
it is indeed almost infinitesimal ; and by the 
use of properly constructed systems of cut- 
ting, the two extremes in size give the properly 
informed manipulator of the shears no concern 
whatever. In contemplating the disproportion 
in size of the animal man we shall only draw 
the reader's attention to two other animal spe- 
cies, that the difference may be compared by 
contrast; for example, the toy Scotch terrier 
with the mastiff, and the Shetland pony with 
the Clydesdale horse. 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



AN APPROXIMATE SYLLABUS. 

The learned professions have long since 
united in accepting the white race of mankind 
as their standard for the anatomy of the human 
figure, and scientific anthropology furnishes us 
with an elaborate anthropometric table of rela- 
tive proportions from which we here give a 
brief approximate syllabus as serving to show 
the basis upon which Dr. Wampen constructed 
his system. For anthropometrical and other 
scientific purposes the human figure has been 
divided into eight height sections called 
"Heads." From the vertex to the lower man- 
dible point (crown to chin) ; thence to meso- 
sternum (level of nipples) ; from there to the 
umbilicus (navel) ; from the umbilicus to the 
genital organs ; from there to the middle of 
femur (thigh) ; thence to the upper tibia 
(knee level) ; from there to the middle of the 
tibia shaft (middle of leg), and thence to the 
ground. Each of these eight heads has its 
division and subdivision lines ; the head, for 
example, is divided into four equal lengths — 
from the vertex to the hair line, from hair line 
to root of nose, from the root of nose to its 
base, and from base of nose to chin ; the space 
between the eyes or breadth of base of nose is 
equal to one length of the eye ; the length of 
the face and the length of the hand are equal. 
each being a ninth of the total height ; the 
length of the foot and the circumference of 
the clinched fist are equals, each of which is 
one-sixth of the total height; the neck, the 
knee, and the calf are each three-eighths of 
the breast measure; the breast and seat arc 
the same in size, while the waist is one-sixth 
less than breast; the thigh is five-ninths of 
the seat ; the ankle and elbow are each one- 
fourth of the breast. These are but a few 
approximate proportions of the anatomical 
standard of the human form, but the science 
of anthropometry has the divisions of the 



human figure reduced to centimeter fractions. 
When you consider the fact of a centimeter 
being the hundredth part of a meter, and that 
the measurements of the human form are re- 
duced to the hundredths of a centimeter, you 
may begin to realize how admirably correct the 
Wampen system of drafting and grading sets 
of block patterns unquestionably is. 



WAMPEN'S MODEL. 

Dr. Wampen gives us a model figure as a 
cutter's base or zero of graduation, the chest 
measure of which is thirty-six inches, with a 
thirty-inch waist, or one-sixth less than chest 
measure. The figure, having a total height of 
sixty-four inches, or units, is divided into 
eight height sections, or heads, seven of which 
are called the ground length ; that is, from 
the nape of the neck to the ground. Each, of 
the "heads" is subdivided into eight inches, 
or units, of total height, enabling the cutter 
to accurately locate and correctly provide for 
any abnormal condition that may exist in any 
of the heads or subdivisions of heads. These 
heads are marked off on the figure, as already 
explained, by horizontal boundary lines, the 
coccyx point, or os pubis level, being the mod- 
el's center of height level, which is thirty-two 
units of total height. When the unit of 
height, argue some misinformed cutters, is 
greater than the unit of proportion of breast, 
the coccyx point level is always above the 
center level, and' therefore the total height unit 
is not a reliable guide to the location of natu- 
ral waist length ; and, continue these hypo- 
thetic reasoners, when the coccyx level falls 
below the center level, the height unit always 
becomes less than the chest unit, which would 
result in the cutter locating a too short natural 
waist level. We have always declared that the 
unit of height is not a safe guide for locating 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



19 



depth points ; nor does Dr. Wampen intend it 
to be used as such, except in cases of grading 
sets of block patterns. Men who argue that 
a loav or high coccyx point level changes the 
size of the height unit are laboring under a 
huge misconception of the governing law of 
physiological economics and mathematical sci- 
ence as applied to the art of cutting. For 
example, take two men of equal height, the 
one measuring thirty-one and the other thirty- 
three leg length, which is not an uncommon 
occurrence. We here have a difference of two 
inches in the coccyx point level, and yet the 
man with the lower level is just as likely as 
not to require a shorter shoulder and depth of 
scye level than the one with the higher coccyx 
level, because of the difference in form of 
shoulders and flatness or roundness of back. 
Our simplification of the Wampen system 
clears away many of the false conceptions 
anent the practical application of the Wampen 
science. Mr. F. M. King, although not a 
practical tailor, has proved himself a most in- 
telligent and successful cutter, as free from 
swell-headed, ostentatious swagger as we can 
get them', yet he happens to< be one of many 
who caught the false idea of the application 
of the height unit. In talking with us con- 
cerning the practical worth of Dr. Wampen's 
science he said : "I can make no pretense of 
knowing all the varied details of Dr. Wam- 
pen's anatomic, mathematical, sartorial art phi- 
losophy as taught to cutters, and, compara- 
tively speaking, if I knew but as little of any 
other system as I do of Wampen's, and at- 
tempted to make my living by the practice of 
it, I assure you I would not be able to provide 
salt enough to season my food; but, little as 
I do know of Wampen's science, that little 
enables me, as you know, to successfully com- 
pete for my living with the best of them who 
are depending on their thorough knowledge of 
the old plus and minus divisional systems 



which are still in common use in the every-day 
practice of American cutters, who' seem to be 
thoroughly duped into the erroneous belief 
that, unsatisfactory as their divisional methods 
are, there is nothing better in existence; but 
these cutters are willing to believe only what 
they wish to be true." 



AESTHETIC SCIENCE. 

Dr. Wampen says : "The beautiful and the 
aesthetic are synonymous, only with this differ- 
ence: the aesthetic has a science for its base, 
and is therefore not disputable. My works 
show how to produce the beautiful; the aes- 
thetics have a science by which the beautiful 
is produced — a science which consists of in- 
disputable principles in nature. The whole of 
the principles taught in my work are the sci- 
ence and geometry of the human figure, pure 
and simple. It teaches simply of the surface 
and solids of the human body. My principles 
and teachings are equally as useful to the 
sculptor, the painter, or the calisthenics as to 
the tailor. Like Prometheus, who stole the 
light from heaven and came to light up the 
earth, I take the light of science to light up 
the human mind." 



THE GREATEST SARTORIAL ART 
SCIENTIST. 

As the chariot wheels of "old Father Time" 
roll us on and into ever more enlightened en- 
vironment, Dr. Wampen's teachings are being 
more eagerly sought after and diligently 
studied, especially by that class of cutters who 
are most capable of appreciating the works of 
men of real practical worth, and to whom we 
are indebted for our advanced knowledge in 
the science of high-class garment cutting. As 
a sartorial art scientist, Dr, Wampen, through- 



20 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



out the civilized world, is deservedly awarded 
the position of highest rank. His laborious 
research into the various forms and attitudes 
assumed by the human figure, and his anatom- 
ical mathematical basis for the artistic con- 
struction of graceful-fitting clothing for the 
many divergent forms of men, is an everlast- 
ing monument to his genius and industry. The 
truths he has revealed and taught us to under- 
stand and practice are of the highest conceiv- 
able value to the cutting profession, he being 
at once the scientific pioneer and grand past 
master of a perfect sartorial art science. Dr. 
Wampen's idea of high-class tailoring is that 
of an industrial art, to which the teachings of 
science are practically and economically ap- 
plied — an idea that is now taking a fast and 
powerful hold of the trade and is certainly 
leading up to greatly improved results. It 
must not be thought, however, that the espe- 
cially favorable advantages of the present-day 
cutter constitute a royal road to success, for 
with improved methods we create a still 
greater demand for superior executive ability. 
The greater ease that Dr. Wampen's science 
has brought to us in ascending the sartorial 
ladder of fame has naturally produced a corre- 
spondingly loftier ideal of ascents ; and here, 
as in all departments of knowledge and indus- 
trial pursuit, superior advantages must ever 
carry with them more excellent attainments. 
It is therefore of the highest importance that 
cutters whose happy privilege it is to acquire 
a clear knowledge of the Wampen science 
should fully understand and duly appreciate 
this significant truth. To secure a clear 
knowledge of the Wampen system and its 
practical application, combined with the ability 
to let flow its full flood of artistic power on 
our every-day practice, demands intellectual 
effort and diligent study ; and be it ever 
remembered that it is the want of diligence, 
more than the lack of ability, that is the cause 



of so many men failing to attain desirable dis- 
tinction. The Wampen science may be said 
to be a perfect tool, to be used in the accom- 
plishment of a perfect work ; the science or 
tool being perfect, the skillful o<r unskillful 
application of it will ever make or mar the 
reputation of the cutter. 



IN THE REALM OF REAL SARTORIAL 
ART. 

He who is in a very moderate degree dili- 
gent cannot fail to soon become master of the 
Wampen system, intelligently understanding 
the working of its principles, how to vary its 
operations, knowing just what these variations 
will produce in providing for the special re- 
quirements of the individual customers or the 
ever-changing demands of fashion, enabling 
the young cutter to make a display of that 
refinement of taste which is ever acceptable as 
a gilt-edged voucher of diligent study and 
ripened practical experience — qualifications 
that will ever enable their possessor to far sur- 
pass the other easy-going chap who "can't be 
bothered" and is satisfied with the mere accom- 
plishment of a routine mechanical operation of 
the system, seemingly quite indifferent to the 
fact that in the realm of real sartorial art there 
is always a vast fallow field open for the in- 
genious tailor who clings to a love of ideal 
work, striving, for example, after the first 
principles of characteristic suitability in sarto- 
rial science which may be said to be an incar- 
nation of fancy, a sort of petrified poetry or 
concrete rhetoric. The blossom of the sarto- 
rial art tree is the product of the roots of 
thought and the trunk of imagination ; it is 
inventive, mutational, and composite, like 
Greek art, which is inventional, while Gothic 
is imitational and Byzantine composite ; 
Egyptian ornament is thoughtful and always 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



21 



allegorical ; the Assyrian is still quainter, sim- 
pler, and more primitive. The Greek revels 
in noble, sweeping curves and in fretted fo- 
liage highly conventionalized. The Oriental 
types in their art lost their symbolic character 
and became enriched and idealized by fancy 
and a sweet grace lineality. The Etruscan is 
rude and Asiatic, with Greek luxuriance. The 
Roman is strong and vigorous, leafy, luxuri- 
ous, and highly voluptuous. The Byzantine is 
barbarian, rich, knotted, linked, and studded 
like embroidery. The Moorish is the poetry 
of geometry and the mathematics of color, 
varied and changeful as nature. The Gothic 
is nature subdued and limited to rules and 
space. The Indian is varied, strange in its 
blendings, and studied intermixtures arranged 
by the instinct of men of a hot climate, but the 
Persian is said to be the most graceful and 
poetical of all Oriental work, being gorgeous 
and yet delicate in color; it is full of the 
broadest effects of contrasting hues, and 
wreathed and blossomed with threads of 
flowers bright as those of a missal. The cut- 
ter who devotes a reasonable time to> the study 
of the above mentioned varied forms and 
styles of art will experience no difficulty what- 
ever in infusing the most becoming character- 
istic features into his productions that is best 
adapted to the requirements of youth, man- 
hood, age, form, occupation, rank, character, 
style, or profession. 



THE DRESSING OF ALL MEN ALIKE. 

The human form is presented to us in too 
great a variety of conformation to submit to a 
uniform mechanical treatment, and therefore 
the attainment of marked success requires that 
the eye be trained to detect divergences from 
our ideal of proportions, the mind to grasp 
the necessities, and the taste and trained hand 



to impart the required form without unduly 
revealing but to some extent concealing the 
departure from the recognized standard of 
graceful normality. 

If it be art to beautify, 

Adorn, enhance, and make complete ; 
To originate, shape, and mold, 

And make more elegantly neat, 
Then to the fine art tailor must be given 

The highest meed of praise from heaven. 

The philosophy that teaches the dressing of 
all men alike is full of rank hypothetical error, 
and the tailor who practices a uniform style of 
outline for all sizes, shapes, and manner of 
men is the vulgar perpetrator of a gross out- 
rage on good taste, displaying a total disregard 
for the rulings of business diplomacy, a lack 
of commercial knowledge and business enter- 
prise, because that which will best suit one 
form of manhood or shade of complexion will 
not suit all forms, shades, ages, and conditions. 



MANY ACCEPTABLE FORMS OF ELE- 
GANCE. 

From hour to hour the cutter is subject to 
be called on to furnish becoming apparel for 
a great variety of men, all dissimilar in style, 
form, taste, and character. Young, old, gay, 
grave, scraggy, fat, poor, rich, tall, short, 
penurious or profligate, all of whom may be 
alike beautiful technical types although widely 
characteristically different, as seen in the 
statesman and the hod-carrier, the trust mag- 
nate and the sycophant, the soldier and the 
flunkey, the learned scientist and the illiterate 
feeder of swine, as in real life. We expect to 
see the same varied characteristic features re- 
produced in the works of the true sartorial 
artist, as in the painter's representation of the 
shepherd and the warrior, of the senator and 
the peasant, of the wrestler and the boatman, 



22 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



of the savage and the man of culture. In 
sculpture we in the same way meet very differ- 
ent outlines of beautiful proportions, forms, 
and attitudes, as in the portrayal of Jove, 
Bacchus, Hercules, Apollo Belvedere, etc., 
etc. To us as tailors it is of no> consequence 
why we have such great variety of forms ; it 
is only of consequence to observe that all this 
could not happen if there had been established 
but one prescribed form of acceptable ele- 
gance in human proportions ; and had this 
been so, we could not produce the exception, 
nor would the self-respecting artist dare to 
portray it by deviation from the sole pre- 
scribed form. Seeing, then, that there is a 
great variety of acceptable forms of masculine 
beauty of outline, each having its inherent de- 
gree of imperfection, it is obviously essential 
to the attainment of success that the cutter, 
painter, or sculptor who aspires artistic fame 
should have a very familiar knowledge of all 
the forms and variations of specific forms, 
combined with technical ability to produce the 
style of outline in the class of garment that 
will best harmonize with the characteristic 
specialties of youth, maturity, age, occupation, 
or profession. For it is with clothes as it is 
with the facial expression : whenever the coun- 
tenance has any special distinctive character, 
it is not susceptible of beauty when under the 
dominion of unanalogous emotions. In the 
deep, melancholy face, laughter is a distress- 
ing spectacle; in those of extreme gayety, 
melancholy is no less so. Dignified deport- 
ment is disgraced by mirth, and the pug- 
nosed mirthful made ridiculous by the as- 
sumption of dignity. Nothing is more dis- 
tressing to the manly countenance than the 
assumption of softness or effeminacy, and 
nothing more absurd than the effeminate coun- 
tenance affecting the expression of manliness. 
In like manner, correct individual adjustment 
of sartorial art line curvature lends beauty to 



the figure, while stiff-drawn angles, dug-out 
hollowings, and misplaced seams are the ever- 
present "ear-marks" of the common, grotesque 
products of a technically unlearned, cheap, 
degenerated tailorhood, which serve by con- 
trast to emphasize the beauty of the artistic 
productions of the true sartorial artist, whose 
knowledge of the real purpose of the combi- 
nation of the height and width theory, as 
conceived, elaborated, taught, and promulgated 
by Dr. Wampen, enables the practitioner to 
conserve all the pleasing features of sartorial 
art lines that are most becoming to different 
ages, conditions, and forms. From infancy up 
to and through adolescence we expect mirth 
and joy; in manhood, firmness and vigor; in 
old age, dignified serenity. Gravity in youth- 
ful features, or the heedless mirth of infancy 
in the features of maturity, or the passionate 
joy of youth in the features of the aged, are 
conditions which we never observe without a 
feeling of censure or disgust. The gallant 
look and sartorial make-up that we so^ much 
admire in the soldier and "the mariner bold" 
would be utterly ridiculous in the supreme 
court judge and still more reprehensible in a 
clergyman ; the grave, sober thought and sar- 
torial make-up that are most becoming to 
these, we should also disapprove in the courtier 
or man of the world. We expect a different 
expression and characteristic sartorial outline 
for the great merchant prince and that of the 
little storekeeper, as we do in the great land- 
owner and the small farmer, or in the teacher 
of science and his disciple. Each and all the 
conditions are appropriately commendable and 
beautiful in their respective homogeneal en- 
vironment. When destitute of a clear knowl- 
edge of that discriminative and versatile abil- 
ity that enables the tailor to produce the spe- 
cial distinctive sartorial art features that are 

most becoming to all the varied conditions and 
manner of men above referred to, it is nothing 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



23 



less than sheer technical ignorance, combined 
with colossal, unblushing, brazen-faced gall, 
that will enable teachers of cutting and their 
disciples to pose under the high-sounding 
antonamasia of "sartorial artist," because it is 
just in that degree in which the tailoi is profi- 
cient in producing what is most appropriate to 
physical conditions, occupation, and age, that 
he is justified in laying claim to artistic hon- 
ors. For just as the physiological incongrui- 
ties above referred to produce monstrosities, 
so is it in the realm of sartorial science ; hence 
our being in a measure disappointed when we 
meet a professional man not in the dress of 
his profession, but when he is professionally 
costumed we at once experience a pleasing 
perception of concordant beauty or propriety. 
We not only laugh at but scorn the mere sup- 
position of our army and navy being dressed 
in black, and our incumbents of the pulpit and 
bar being costumed in Rough Rider's khaki, 
marine blue, and regimental gray. Such a 

reversal would utterly destroy the whole sig- 
nificant beauty of the uniforms. And so on 

right throughout all the gradations of dress 
most appropriate to professional rank and so- 
cial degree. Women are most undoubtedly 
better designers of costumes than men, as evi- 
denced by their more delicate blendings of 
color shades and the harmonious, rhythmic 
adaptation of graceful curvature of outline, 
producing most convincing evidence of the 
hand ever being guided by the mysterious op- 
erations of the mind in imparting that pleasing 
individualism of character to their productions 
that is always highly appreciated by intelligent 
dressers — an artistic feature which we are 
sorry to be constrained to admit is grievously 
absent in the products of many of our high- 
priced American trades. 



PICK THEM OUT AND PLACE THEM. 

Men of every occupation, no matter what 
it may be, acquire a physical form, gait, and 
facial expression peculiar to the work they 
are engaged in, and to such a marked degree 
that the stoker can be picked out from the 
engineer, the blacksmith from the carpenter, 
the shoemaker from the tailor. The lawyer, 
the doctor, and the preacher all have a facial 
expression peculiar to their specific practice, 
and each by his appearance or "make-up" may 
be selected and placed according to his degree 
or rank. The police court judge may be a 
man of enormous wealth as compared with his 
confrere the supreme court judge, but never- 
theless in seventy-five out of the hundred you 
can pick them out and place them correctly, 
just as you can the Presbyterian facial ex- 
pression from the Episcopalian, or the Roman 
Catholic from the Methodist, all of whom have 
their characteristic sect physiognomy. 

It is a long-established, self-evident fact that 
idleness, special occupations, trades, and learn- 
ed professions all carve the outlines of their 
own brand on the face or form of their devo- 
tees, hence the absolute necessity of cutters 
who aspire sartorial art fame familiarizing 
themselves with all the varied details of pro- 
cedure concerning the production of that form 
of outline and general make-up that is best 
adapted for, or most becoming to, the varied 
individual characteristics of the customer. And 
it is just here where American sartorial art 
skill is conspicuously feeble as compared with 
that of the British tailor, who is trained to 
discern, discriminate, assemble and combine 
into one concordant whole the various distin- 
guishing characteristic trifles betokening that 
dignified refinement so much desired and high- 
ly appreciated by the educated, rich Americans 
who, finding themselves unable to obtain it at 
home, go to the British tailor to secure it. 



24 



PROGRESSIVE ANTHROPOMETRICS. SARTORIAL ART SCIENCE. 



BRITISH TAILORING THE MOST FA- 
MOUS. 

The tailors of Great Britain have long been 
famous beyond all others, largely because of 
their more complete knowledge of the art of 
infusing into their productions that peculiar 
individual grace and elegant, characteristic 
class distinction which has completely lured 
the educated of all nations to accept and adopt 
the British aristocrat's make-up as that of the 
ideal gentleman. The present-day superla- 
tive eminence of British sartorial art is in a 
great measure due to the mighty influence 
wielded by that renowned old Scotchman John 
Williamson, founder of the world-famous 
Tailor and Cutter and originator of the Lon- 
don Cutting Academy, to which tailors hie 
from all parts of civilization for the sole pur- 
pose of securing a more complete knowledge 
of concentrated sartorial art science than is 
obtainable in any other country in the world. 
To such an extent is this the case the fashion- 
ables of all nations are becoming ever more 
British in their sartorial make-up. In every 
civilized country men of wealth and wisdom 
who desire social recognition are now adopting 
the British aristocrat's form of dress, gait, 
mannerism, and equipaged form, with its liv- 
eried flunkey completeness ; and in no other 
country is this more in evidence than in 
America. And why not? And yet there are 
no class of men under heaven who are more 
loyal to their own tradespeople than are the 
Americans. Neither are there any other people 
better able to explain to their tradesmen what 
they desire to have, or who more highly ap- 
preciate it when they do get it. We therefore 
most respectfully advise the stopping of all 
lobbying for higher tariffs on imported ward- 
robes for the sole purpose of bolstering up 
home incompetency. Break away, we say, 
from antiquated methods. Study and work 



for the acquirement of a knowledge of high- 
class, modernized, technical versatility of 
make-up. Learn how to give the educated, 
rich American the high-class distinctive form, 
character, or style of make-up that he desires, 
and he will loyally spurn the British tailors, 
who have captured millions of American dol- 
lars because of the fact of their being able to 
furnish not only an individual style but an 
unlimited variety of individual characteristic 
styles which are as yet unobtainable in 
America. We therefore think that it is more 
than time for American teachers of cutting to 
waken up to a realization of the fact that high 
art sartorial style is individuality; it is the 
man himself. Those who teach style teach 
only the art of imitation ; they impose modes. 
But to follow or copy is not learning how to 
design. To the mind of the American teacher, 
who has been so long accustomed to recognize 
only a mere stereotyped national form, it ap- 
pears impossible to conceive of a style not 
similar to a pre-existing one. Combinations 
and inter-combinings of little details is to him 
an occult art. To be a successful individualist 
the cutter must have had a technical training ; 
he must, in every sense of the word, be a tailor 
in the happy possession of a visual memory, 
enabling him to retain in his mind not words 
but images, his artistic work always revealing 
the ugly as inharmonious and discordant with- 
out making the revelation in precepts, for the 
principle of art is simply aspiration toward a 
superior beauty of appropriateness, and the 
manifestation of this principle is in an enthu- 
siasm independent of passion or the overzeal 
of the fanatic ; it is the exaltation of the heart 
and of truth ; the domain of reason. By add- 
ing new features it enables us to illumine 
what is dark or insipid, giving life and color 
to the limp, inert, and faded, like the lapidary 
giving a lighter yellow to the topaz, a more 
celestial blue to the sapphire, a deeper crimson 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



25 



to the ruby, a more transparent purple to the 
amethyst, or a higher brilliance to the dia- 
mond. Of course no honest-minded man will 
deny the fact of American tailoring having its 
broad, national, characteristic features beto- 
kening high, cultured intellect and technical 
talent, but the cut and general make-up should 
be adapted to. the individual ; the material 
should also accord with the customer's person- 
ality, while the color and shade should tally 
with the whole combination. 



COMPLEXION AND COLOR EFFECTS. 

A tall dark or fair man carries a Norfolk 
tourist suit or Prince Albert coat with becoming 
grace, and more especially so when not fleshy, 
the figure being enhanced ; but the opposite 
effect will be the result when a dark, sallow- 
complexioned man selects, while his imprudent 
tailor approves and perhaps commends the 
choice of, a fawn mixture for a coat and vest, 
which as likely as not will be set off by the 
addition of a white, yellow, black, or some 
other incongruous color of neckwear, both 
buyer and seller being sublimely innocent of a 
knowledge of the unhomogeneal make-up of 
the selection ; hence the not uncommon heinous 
violation of good taste, as seen even in the 
highest levels of the social whirl. 



ADDUCTIVE ABILITY. 

In the absence of good taste on the part of 
the customer, the tailor should have adductive 
ability to lure his sallow-complexioned cus- 
tomer away from saffron-tinged goods to 
something more homogeneal in the form of a 
dark blue, or, if he would rather have it, a 
plain black serge or milton, or, if something 
more fancy be desired a dark mixed tweed, 
with a crimson or blue pretty shot silk necktie. 



Then our sallow - complexioned customer 
would appear the product of a more artistic 
tailor, and, being dressed to the best advan- 
tage, he would at least seem a gentleman. The 
great bulk of cutters appear to centralize all 
their mental force on the mere production of 
"a good fit," devoting but little study to stylish 
outlines and the many other little essential 
details for the infusement of that high-class 
distinctive personality that so harmoniously 
blends with the special characteristics of the 
various learned professions, as distinguishable 
from commercialism as that in turn is distin- 
guishable from militarism. It is the ability to 
engender that becoming trimness for the vari- 
ous class grades, as approved by all men of 
refined taste, that discriminates the artistic 
cutter. 



PHOTOGRAPHY AND TAILORING. 

What measure of prosperity would we be 
reasonably justified in predicting for the pho- 
tographer who made a fixture of his camera 
and "sitter's chair" and who turned out all 
his pictures in the same pose, the same size, 
and the same high and low lights? The pho- 
tographer studies the especial requirements of 
each individual face, figure, and make-up. He 
dictates the most becoming pose, and adjusts 
his high and low lights according to the ever- 
changing exigency of his individual patrons. 
And why not the tailor ? No matter what the 
abnormality of the customer may be, the cutter 
should ever hold in his mind's eye the normal 
form when drafting a pattern, for the reason 
that our ideal in beauty of form should ever 
be subservient to, and in conformity with, the 
graceful lines of the normally developed body. 
A really artistically drafted pattern always cir- 
cumscribes and emphasizes the beautiful 
curves of the normal figure, a requirement that 
is commonly lost sight of by the cheap, low- 



2G 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



grade, loud, ultra-fashionable houses, whose 
glaringly vulgar, inartistic, artificial products 
ever appear so conspicuously absurd when 
compared with the productions of cultured sar- 
torial art. The most famous artists of ancient 
Greece and Rome idealized the beauty of the 
human form, and in their most perfect crea- 
tions they ever scrupulously preserved the gen- 
eral outline and character of the normal body ; 
but our least erudite, inexperienced, "Cheap 
John" artificial tailors, who ape the artistic 
productions of high-class trades, are ever 
prone to plunge into extremity — a vulgarism 
that is largely due to a total lack of knowledge 
concerning the course to be pursued in the 
treatment of anatomical disproportions, often 
causing their misguided patrons to masquerade 
in gross caricature of gentleman-like refine- 
ment. 



THE YACHTMAN-LIKE DOCTOR. 

Although we cannot judge the merits or 
demerits of a book by its cover, its epitomized 
summary or index will ever cause us to accept 
or reject it ; and as dress has ever been the 
accepted characteristic index of the individual 
and class alike, no- intelligent, self-respecting 
man can afford to appear clothed in garments 
unsuitable to his agrestic grade, urban rank, 
or learned professional dignity. For example, 
a hurry-up call was sent out for a doctor, two 
of whom simultaneously approached the pa- 
tient. The one nearest to the sick man stood 
clothed in a handsome yachting suit ; the 
other was dressed in black Prince Albert, and 
had entered the room dress hat in hand and 
properly gloved. Both were personally un- 
known to the sufferer, who instinctively ig- 
nored the presence of the handsome yacht- 
man-like doctor and accepted the other as 
being the most responsible-like physician. 
True, the doctor in the yachting suit may be 



by far the most able physician, but in his 
personal sartorial make-up he lacks the index 
of his profession and therefore is relegated to 
the ranks of the unacceptable. The influence 
of occupation is revealed alike in dress and 
the attitudes imposed by diverse professional 
and social functions. The military officer and 
the ecclesiastic have an opposite physiognomy 
and physical development, the first possessing 
in a large degree the movements of extension, 
which express strength, action, force, joy, 
well-being, pleasure, revolt, impulsion, blas- 
phemy, in fact all that is self-assertive, while 
the second is the living exemplification of 
flexion, which expresses humility, discomfort, 
fatigue, pain, reflection, prayer, sycophancy, 
adoration, repose, and all that accentuates a 
debasement of self ; and the cutter caught 
guilty of producing for two such opposite 
characters a Prince Albert or any other form 
of coat, with the same design of outline, can- 
not by any degree of common-sense reasoning 
be rated "an artistic tailor," and it is worse 
than foolishness of him to expect to receive 
and retain the patronage of rich, educated, 
gentleman-like dressers, because of his lack of 
versatility in artistic style unfitting him to 
successfully compete with those who really are 
sartorial artists, even although they be located 
at a seemingly safe trans-Atlantic distance. 



RESPONSIBILITY OF TEACHERS OF 
CUTTING. 

If men who assume the grave responsibility 
of teaching the art and science of cutting and 
its concomitants were of a turn of mind that 
would lead them to seriously consider the far- 
reaching influence of their ability or their lack 
of ability to impart a clear knowledge of tech- 
nical details, we no doubt would soon attain a 
much higher average of greatly needed artistic 
skill ; the laws of cause and effect would soon 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



27 



be more commonly and much better under- 
stood, sparing us the mortification so often 
experienced at the sight of short men bobbing 
up in large checked suits, wide-legged trou- 
sers, and long coats with too low-pitched side 
seams, and tall, lanky, high-shouldered or 
short-necked men wearing tight-fitting striped 
trousers and short coats with high-pitched, 
much-curved side seams. Of course there is 
no system of sartorial art known to us that 
"will a cubit add to the stature of the man," 
but we do know that there are optical delu- 
sions in tailoring, as there are in other arts, 
and that by the intelligent placement and har- 
monizing of seams and graceful curvature 
much can be done to increase or reduce the 
apparent height of the figure or give a more 
square appearance to the sloping shoulders. A 
clearer and more universal technical knowledge 
of the laws governing the diffusion of individ- 
uality in sartorial art make-up is now the only 
way to obtain the salvation of the fine trade 
houses of America. The canker-worm of de- 
generation and decay has already fastened its 
fangs on the very vitals of high-priced tailor- 
ing, and unless America's Rip Van Winkle 
teachers of today wake up to a true sense of 
their far-reaching, grave responsibility, adopt- 
ing and teaching modern and progressive 
methods, our present-day high-class tailoring, 
like that of the custom shoemaker, will soon 
be absorbed in the stereotyped factory trade. 
We therefore say to the young tailor who 1 is 
imbued with the spirit of ambition toward the 
higher latitudes of our profession, see to it that 
you do not get snared by unscrupulous graft- 
ers destitute of a technical knowledge of the 
trade, and on whose lips the mystic bee has 
dropped the luring honey of delusive persua- 
sion. Before committing your life interests 
to any school or system, make a searching in- 
quiry, and we know that you shall discover 
Dr. Wampen's Science of Anthropometry to 



be from ostentation and weakness free. It 
stands as the great cerulean arch of our trade, 
majestic in its own simplicity and embracing 
all that is comprehensible. 



STRAINING HIS BUTTONS. 

The untutored cutter unwittingly increases 
the apparent size of a bulky man of barrel- 
hoop rotundity by causing him to don a snug- 
fitting Prince Albert with extra broad lapels, 
giving the wearer the appearance of being a 
much larger man than he really is, straining 
his buttons to the bursting point in the en- 
deavor to accommodate his imprisoned bulk ; 
while the extra narrow lapel on the tall, slim 
man will give him a still more lanky, ill-fed 
look. The thin man's coat with the broader 
lapel would give a larger chest appearing ef- 
fect, and soi on throughout the whole range 
of the varied forms of men and the many dif- 
ferent styles of coats that we are from day to 
day called on to produce. 



JUST GROWN THERE. 

How vitally important to the character of 
the coat and the appearance of the wearer is 
the relative location of seams, length, width 
and general style of shoulders, lapels and col- 
lar; the shape, size and position of flaps and 
pockets, with their upward or downward ten- 
dency, veering from the rigidity of the ortho- 
dox horizontal line, are but a few of many 
details that form an important study for the 
aspiring cutter. A good silk facing, good in 
every sense of the word, always has a bright- 
ening effect, and like bindings and braidings or 
velvet collar, should always seem to have just 
grown there ; but if blistered or wrinkled in the 
least degree when putting on, or if the filling 
shows cats-teeth markings, off with it, cre- 
mate it, or bury it. 



28 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



THE CUTTER AND JOURNEYMAN'S 
MASTERPIECE. 

The evening dress coat, in our opinion, is 
to the cutter and journeyman alike, the mas- 
terpiece of fine trade sartorial art right plumb 
through from start to finish. In the cutting, 
trimming and making of the dress coat we 
have a most excellent field for the display of 
real sartorial art of the highest order, as ex- 
emplified in the tastefully outlined, clean fit- 
ting, firm, square, slightly concaved shoulders, 
cut just crooked enough to produce a pleasing 
rotundity of chest, a smooth, close, yet com- 
fortably easy front scye, lapels with tastefully 
bold rounding sweep, neatly curved toward 
bottom to- conform with front of skirt strap 
width. And their beautifully beveled tops run- 
ning in perfect uniformity with the clean fin- 
ished ends of a lengthy yet smooth and hand- 
somely close laying collar, well formed, grace- 
fully draped sleeves, correctly placed, dex- 
terously curved side seams, with tastefully 
adjusted relative width of back scye pitch and 
hip button space ; breadth of collar ; waist and 
skirt length, with sleek hanging back skirt 
pleats, delicately arched hips revealing no ten- 
dency to scrimpness, neither hugging the fig- 
ure nor dangling from it, with prettily curved 
waist seam not too hollow over the condylar 
point, having a drooping rather than a strictly 
horizontal front line finish, while the skirt 
width, length and breadth of skirt strap must 
all be in perfect cognizance with the size, the 
age and personality of the wearer, combining 
symmetrical elegance, with the acme of com- 
fort, the whole artistic combination proving 
the cutter and journeyman alike symmetrician 
past masters of the highest order of dress coat 
making. 

We have time and again been in banquet 
halls surrounded by many hundreds at a sit- 
ting, giving us ample opportunity of contem- 



plating "how few there be" in our highest class 
trades even, who are proficient in the detail 
work of high art dress coat making, capable of 
bridging over anatomical imperfections or phy- 
sical defects. The use of "soldiers-fat" — wad- 
ding — to a degree is pardonable, and oft times 
necessary as a help in toning down sharp an- 
gles or equalizing a lob-sided figure, but like 
genuine old Scotch whiskey, it must ever be 
used with prudent care, because a small over- 
dose of either will never fail to destroy good 
form. 

NEW YORK SARTORIAL ART 
HORRORS. 
The New York Herald having engaged an 
expert high class photographer to make a pic- 
ture of the guests at a recent dinner of the 
Tilden Club, we here reproduce a true copy of 
a group of three of America's highest class 
citizens as they appear in the famous picture. 




And just take a squint at the three of them, 
will you? The Hon. Andrew Jackson Mon- 
tague, governor of Virginia; the Hon. David 
Bennett Hill and ex-President of the United 
States, Grover Cleveland, as they stand posed 
in their gubernatorial dignity ,and New York 
"full dress sartorial art" horrors. Much as we 
desire to pass in silent sorrow, these living wit- 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE.. 



29 



nesses of the correctness of our claim concern- 
ing the marvelous lack of dress suit producing 
ability as met with even in the highest lati- 
tudes of our trade, we cannot suppress the 
wish to put the pertinent query : Why should 
men in their position be found fault with when 
venturing to import from Canada or Europe 
suits for dress purposes, or ceremonial func- 
tions? Until such time at least as New York 
tailors may succeed in learning to produce 
something approaching real sartorial art,giving 
some evidence of ability to produce dress suits 
that would not be a disgrace to a Pennsylvania 
coal digger, or a banquet of peanut venders. 
But what class of progressive or retrogressive 
art may we reasonably expect from the pupils 
of teachers of 'a sartorial art," who are them- 
selves prompted by such unconceptible clown- 
ish notions as lead them to introduce, and year 
after year blindly persist in promulgating as 
exquisite taste the wearing at full dress cere- 
monial functions, trousers disfigured with back 
and front creases in imitation of country store 
ready made, shelf kept goods? This vulgar 
crease fad received such a popular swing in 
the East that it is now a common practice with 
impecunious New York swells to place their 
trousers under the mattress before going to 
bed. The reason why this gross outrage on 
sartorial art became so very popular may be 
traced to the fact of so many of America's 
citizens having obtained their education in the 
"little red school house over the hill," where 
in their agrestic, unsophisticated adolescence, 
they became deeply imbued with the idea of 
the necessity of associating creases with new- 
ness, when they saw them represented on the 
plates of New York fashion reporters, they at 
once took to the idea with that old time affec- 
tionate tenderness that is so warmly inspired 



by a renewal of early associations, the creases 
appealed to their sense of newness, because of 
their being so much like what "Mother-uster- 
buy-fur-me-an'-ma-ole-dad." 



THE NORTH POLE OF DUDEISM. 

As to the almighty influence of appropriate 
dress Carlyle, our most powerful heavyweight, 
literary, cynical, Scotch sledgehammer phil- 
osopher, although personally the very north 
pole of dudeism, had a true appreciation — as 
evidenced in his immortal Sartor Resartus — of 
the ever powerful influence of the tailor as a 
factor in moulding and building up, and also 
establishing of all our varied ancient and mod- 
ern forms of national civilization. 



THOMAS CARLYLE'S VIEW OF 
DRESS. 

"Society, which the more I think of it, as- 
tonishes me the more, is founded on cloth. 
Often in my atrabiliar moods, when I read of 
pompous ceremonials, Frankfort cornations, 
royal drawing rooms, levees, couches and how 
the ushers, macers and pursuivents are all in 
waiting; how Duke this is presented to Duke 
that, and Colonel A. by General B. and in- 
numerable bishops, admirals and miscellaneous 
functionaries are advancing gallantly to 
anointed presence, and I strive in my remot- 
est privacy to form a clear picture of that 
solemnity — and sudden as by some enchanters 
wand the — shall I speak it? The clothes fall 
off the dramatic corps. Dukes, grandees, bish- 
ops, generals, anointed presence itself, every 
mother's son of them stand straddling there, 
not a shirt on them, and I know not whether 
to laugh or weep ; the whole fabric of govern- 
ment, legislation, property, police and civilized 
society are dissolved in wails and howls." 
Again he says : "As dispicable as we think 



30 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



them, they are so unspeakingly significant, 
clothes from the king's mantel downwards, 
not of want only, but of manifold cunning, vic- 
tory over want." 



SHAKE OFF THE BLUES. 

When your liver is sluggish, and you suffer 
from that tired feeling that accompanies de- 
pression of spirit, you may shake it off, "the 
blues," by a reading of his advice wherein he 
says : "Be no longer a chaos, but a world, or 
even a worlding. Produce ! Produce ! Pro- 
duce ! were it but the pitfullest infinitesimal 
fraction of a product, produce it ; in God's 
name produce it ; it's the utmost thou hast in 
the ; out with it then ; up ! up ! whatever thy 
hand findeth to do, do it with thy whole 
might ; work while it is called day, for the 
night cometh wherein no man can work." 



MORE IN SARCASM THAN IN PRAISE. 

It has been claimed that Carlyle wrote Sar- 
tor Resartus more in sarcasm than in praise 
of the tailor; we, however, are not inclined to 
that belief, and we think a reading of the fol- 
lowing quotation will confirm the correctness 
of our opinion. Carlyle writes. "Upwards of 
a century must elapse and still the bleeding 
fight of freedom be fought, who is noblest 
perishing in the van and thrones hurled on 
altars like Pelion on Ossa. The Moloch of 
iniquity will have his victims, and the Michael 
of justice martyrs before tailors can be ad- 
mitted to their prerogatives of manhood, and 
this last wound of suffering humanity be 
closed. If aught in the history of the world's 
blindness could surprise us, here might we 
indeed pause and wonder. An idea has gone 
abroad and fixed itself into a wide spread 
rooted error, that tailors are a distinct species 
of physiology. Not men, but fractional parts 



of man. Call any one a Schnider, is it not in 
our dislocated hoodwinkedand indeed delirious 
condition of society equivalent to defying his 
perpetual fullest enmity? The epithet Schnider 
massig betokens an otherwise unreproachable 
man, of pusilanimity ; we introduce a tailor's 
melancholy as more opprobrious than any 
leprosy into our books of medicine, and fable. 
I know not what of his generating it by living 
on cabbage ; nevertheless need I put the ques- 
tion to any physiologist, whether it is the tailor 
has bones and viscera, and other muscles than 
sartorius? Which function of manhood is the 
tailor conjectured to perform? To* the reader 
of this volume can it be doubtful which is 
mine. Nay, if the fruit of these long vigils 
and almost preternatural inquiries is not to 
perish utterly, the world will have approxi- 
mated towards a higher truth which swift 
with the keen forecast of genius, dimly antici- 
pated will stand revealed in clear light, that 
the tailor is not only a man, but something 
of a creator Divinity? Of Franklin it is said 
that he snatched the thunder from Heaven, 
the kingdom from kings, but which is greater 
I would ask, lie that lends or he that snatches? 
For looking away from individual cases and 
how the man is by the tailor new-created into 
a nobleman, and clothed not only with wool, 
but with dignity, and a mystic dominion, is 
not the fair fabric of society itself, with all 
its royal mantles and pontificial stoles whereby 
from nakedness and dismemberment we are 
organized into politics, into nations and a 
whole co-operating mankind, the creation, as 
has often been irrefragably evinced of the 
tailor alone? And this is he whom sitting 
downcast on the hard basis of his shopboard 
the world treats with contumely, as the ninth 
part of man. Look up, thou injured one, look 
up with the kindly eye of hope and prophetic 
bodings of a noble, better time. So long hast 
thou sat there crossed legged, wearing thy 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



31 



ankle joints to horn, like some sacred anchor- 
ite or religious fakir, doing penance, drawing 
down Heaven's richest blessings for a world 
that scoffed at thee. Be of hope ; already 
streaks of blue appear through the clouds the 
thick gloom' of ignorance is rolling asunder 
and it will be day." Enough, we think, has 
been quoted to prove that the learned author 
of Sartor Resartus in his semi-humorous fan- 
tastic metaphor had no desire whatever to 
bring down ridicule on our most ancient order 
of tailorhood, as established by God in the 
garden of Eden. See Genesis, third chapter 
and twenty-fifth verse. "Unto Adam and his 
wife did the Lord God make coats of skins 
and clothed them." The sequence of an apple 
being beautiful beyond resistance. 



of the Shears, must necessarily be a producer 
of true art, ere the embryo portrait painter can 
successfully study his subject and produce 
ideal art portraiture. 



NO GOOD HISTORICAL PAINTING. 

Other eminent historians, poets, philosoph- 
ers, statesmen and learned art critics have had 
much to say in praise of the tailor as being 
the most potent civilizer, creator of gentle- 
men, and producer of artists that the world 
has ever seen. John Ruskin, the most learned 
of our modern art critics, declared that : "No 
good historical painting ever existed, or ever 
can exist, where the dress of the people of the 
time lacks sartorial art elegance, and had it 
not been for the lovely and fantastic sartorial 
art work of the thirteenth to the sixteenth cen- 
turies, neither French, Florentine nor Ve- 
netian art could have risen to anything like 
the rank it did reach." 

All of which goes for saying that, the tailor 
is the chief factor in the art of living por- 
traiture, and therefore it is only in degree as 
Brother Brush succeeds in reproducing the 
tailors' art that he may reasonably hope to 
live down through succeeding ages in the his- 
tory of fine art portraiture. Ergo-, the Knight 



HOW MEN SHOULD DRESS. 

He who disdains his outward personal ap- 
pearance, scorns the esteem of intelligent, re- 
spectable men. Neatness in dress has ever 
been the true characteristic of the gentleman. 
He avoids gaudy colors and all incongruity of 
shades. If he has an equal liking for several 
colors he will studiously avoid wearing them 
all at the same time, and if any of them be of 
an extreme brightness he will carefully ar- 
range that the remaining portions of his at- 
tire possess some neutralizing influence over 
the colored garment, so as not to demonstrate 
any individual peculiarity or eccentricity of 
character. Costume colorings are well under- 
stood to be merely a matter of taste, and the 
taste of the individual, vulgar or refined, may 
be easily surmised from the color or colors he 
may wear, and by the tout ensemble of his ap- 
pearance. It is to be conceded, however, 
that some colors look well on some people that 
do not on others, the complexion or general 
appearance of the individual rendering a good 
or bad effect, on some looking well, on others 
disagreeably repugnant, gray always giving a 
more aged appearance, while blue has the op- 
posite effect. A man may, however, be very 
certain not to offend refined taste if he acts 
with a little caution by carefully selecting col- 
ors termed quiet, a sober black never looking 
out of fashion, but always becoming, genteel 
or elegant, according to> the class of wearer. 
A man may conceal his bad taste, or perhaps 
no taste at all by a strict adherence to a little 
forethought previous to making a selection. 
Some individuals pretend to say that in mak- 
ing a choice they please themselves, caring not 



32 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



what people may think of them, claiming that 
they never study to be thought anything of 
how they appear, and that they can wear any 
color with impunity, regardless of how it may 
contrast with their general appearance, not 
seeing or else won't see, the horrid combina- 
tion, and thus appear conspicuously absurd 
in the eyes of the multitude. In dress, we say, 
study to please the many. To successfully do 
this, neatness must be the predominent feature 
of the garments ; be scrupuously careful in the 
colors you choose, that they may not contrast 
too extremely with your general appearance. 
Let it not be said of a man : "What a well 
dressed person he is," but "how gentlemanlike 
he dresses." Study not the extreme going 
fashion, but strike a happy medium, so as not 
to appear conspicuous to the multitude. Think 
well during selection whether your choice will 
create unnecessary remarks among your 
friends, or uncomplimentary comments 
amongst your associates. When once dressed 
forget that you are so ; avoid rigidity, as you 
do slouchiness ; appear easy, as grace is of 
great assistance to the fitting of the garments, 
and the enhancement of the wearer. As a man 
of business, dress according to your occupa- 
tion, trade or profession, you knowing best 
what is most pleasing to the taste of the bulk 
of your clientele. Although a man may be 
financially independent let him at all events be 
dependent on the good will of his patronage, 
which is at all times very much influenced by 
dress and general appearance. For example, 
had our sockless statesman, Jerry Simpson, 
put on fancy striped silk half-hose with low 
cut russet shoes. Or had James Keir Hardie 
M. P. cast aside his flannel shirt and appeared 
in a white linen one, with high standing col- 
lar and the wide linked cuffs, or had John 
Burns, M. P., for Battersea, on being elected, 
discarded his double-breasted pea jacket, and 
donned a Prince Albert, dress hat, etc., etc., 



he, Hardie, and "Sockless Simpson" would 
all have lost their individuality and become a 
bunch of conspicuous failures as representa- 
tives of the honest, horney-handed sons of toil. 
When dressed in Prince Albert coat, the most 
essential accompaniments are the stand up 
collar showing not more than half an inch of 
white margin at back of neck, the indispensable 
dress hat, kid gloves, thin soled, or at least, 
light weight shoes, and medium weight walk- 
ing stick. Never appear wearing a dress hat 
with anything in the form of a short sacque 
coat. We, like Thos. Carlyle, did not know 
"if we should weep or laugh." One evening 
when at a summer garden party we espied two 
handsome men strolling arm in arm over the 
lawn enjoying their cigar. What a beautiful 
picture, said we ; damned completely by the 
imprudent use of two dress hats, while wear- 
ing Tuxedo coats. Nor should the dress hat 
ever be worn — livery servants and swell min- 
strel troops excepted — along with a light col- 
ored spring or fall top-coat, or russet shoes. 
Such a combination is ever as incongruous as 
is the wearing of a derby, a straw or soft felt 
hat when dressed in a Prince Albert, and as 
a matter of bad taste, may be a good match 
for the "Lady" who goes out to do her Christ- 
mas shopping wrapped up in South-Sea fur, 
while she carries a bunch of tuberoses or 
violets pinned over the region of her innocent 
little heart. Black trousers and russet shoes 
is another abomination that we are sorry to 
confess is not by any means strictly confined to 
masquerading purposes. Never make a show 
in dress, but dress well at all times, so that on 
special occasions when dress is most indispens- 
able you may not appear extraordinary by any 
little additional improvement, and by no 
means show that your stud)- has been to dress 
for the special occasion. Study then neatness, 
simplicity of color, and avoid an outre style of 
make up, rather let it be your aim to have 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



33 



the approbation of others in a moderate de- 
gree, and don't show to the world by extreme 
notions and colors, that you are a dude, but 
study to appear what every intelligent, self- 
respecting man is to some extent, desirous of 
appearing A GENTLEMAN. As the index 
tells us the contents of books and directs to 
particular chapters, so does the outward 
habit and superficial order of garments give 
us a taste of the spirit of the wearer and dem- 
onstratively point, as it were, a manual note 
from the margin, showing the internal quality 
of the man. There cannot be a more evident, 
palpable, gross manifestation of poor degener- 
ate dunghilly blood and breeding than a rude, 
unpolished, disordered and slovenly outside. 
Let a gentleman discover himself in an old 
worn out coat, soiled neckwear and dirty shoes 
or general negligence of dress, and he will, in 
all probability, show a corresponding disposi- 
tion to heedlessness in address ; or put a thug 
in fine clothes, kid gloves and silk hat, and he 
will right away endeavor to act the gentleman. 
What an almighty cilivizer is the tailor ! 



THE STUDY OF COLOR EFFECTS. 

While we do not think it necessary for a 
cutter to make a special study of color effects 
as produced through the hundreds of gradua- 
tions of the so-called three primitive colors, 
we do strongly advise a study of the harmony 
of analogy and color contrasts. The harmony 
of analogy is applied to those arrangements 
of color in which they succeed each other in 
the order in which they occur in the prism, 
the eye being led in progressive steps from 
yellow through green to blue, and dark blue 
to black, the graduations occurring according 
to the varying proportions of the desired color 
or shade. Harmony of analogy embraces the 
arrangement of the varied shades or hues of 



the same color, a knowledge of which is of 
great assistance to the proper selection of 
suitable trimmings, as silks, velvets, Italians, 
sewings, buttons, etc., etc. Harmony of con- 
trast is applied to the combination of two or 
more colors. Although the complexion of 
customer is but seldom, if ever, considered 
by the cheap trade tailors in regard to advis- 
ing becoming selections, it is nevertheless of 
great advantage to every class of tailor to be 
able to wisely guide his patrons in the making 
of a suitable choice. For example, the sallow 
complexioned man to whom you sell a cinna- 
mon brown suit, in all probability, will never 
come to patronize you again. His clothes are 
admittedly perfectly satisfactory, as far as fit, 
make, style, wear and price are concerned, but 
still there is an undefinable something about 
the suit, he cannot tell what, that don't please 
him, and he never thinks of it being the unbe- 
coming color. The merchant tailor, salesman 
and cutter should ever bear in mind that no 
color should be brought into proximity with 
the complexion except that which contrasts 
agreeably. A complexion of that delicate rosy 
tint, so much admired by connoisseurs would 
be impaired by contact with a pink or red, 
but if the complexion had too much color, it 
might be improved by a contrast of a darker 
or deeper tint, rendering the complexion paler 
by contrast of tone ; the general effect of all 
dark colors being to make light ones to seem 
still lighter. Sky blue neckwear can be worn 
to advantage by a fair complexioned man; in- 
deed to him most shades are suitable, the rea- 
son for which is not far to seek, as by contrast 
they produce a more or less orange tint. For 
the same reason it is unsuitable to the dark 
man, he already having a superabundance of 
orange in his complexion. The effect of white 
in any quantity is to throw up the color, which 
it surrounds ; it therefore follows that any 
color placed upon a white ground will appear 



34 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



brighter than on a dark or black ground, black 
always lowering the color tones by contrasts, 
making the skin to appear whiter with the ex- 
ception of yellow, or pale orange, which al- 
ways causes black to seem increased in black- 
ness. In dressing our customers our knowl- 
edge of the optical effect of color should be 
utilized. How often do we see some fine speci- 
men of mankind, magnified beyond aldennanic 
proportions, by wearing of a light colored 
suit, or, on the other hand, some man small 
in stature, attired in black where, if conditions 
in color of costume selections had been re- 
versed, both men would have been much im- 
proved in appearance, the optical effect of 
dark and black being to make a seeming re- 
duction in bulk. Stout men therefore, as a 
general rule, should wear dark or black goods, 
and tailors, especially those whose special 
privilege it is to work for that class of cus- 
tomers who are ever willing to pay for high 
class sartorial art should at least be artist 
enough to be able to give this much needed, 
and as we have ever found, highly appreciated 
advice. 



THE CUTTER LIKE THE DOCTOR. 

We have for many years discharged the 
duties of cutter where our advice was asked 
for and received by our customers, as patients 
do in consulting their doctor. The doctor is 
qualified by a course of studytodictate the med- 
icines necessary to be used in effecting a cure, 
he being thoroughly informed in such mat- 
ters and therefore competent to apply a rem- 
edy, while the patient is assumably supposed 
to know only the location of the pains and 
aches that affect him. The cutter filling a po- 
sition in the field of dress or realm of fashion 
should stand in the same relative position with 
his customer, as the doctor with his patient. 



The cutter having a superior knowledge of 
cause and effect, as applied to the selection, 
class of goods, colors and the most becoming 
individual suitableness of styles. The cutter 
should never obstrusively recommend this or 
that style, but he should be ever competent to 
answer all queries anent what is most suitable 
for this condition or that occasion. The cus- 
tomer should be so led as to make him feel 
the necessity only of informing his tailor for 
what purpose the garment or suit is intended. 
A cutter should never ask A Gentleman 
"What sort of suit do you want?" but "For 
what purpose do you desire a suit?" and when 
the question is answered the tailor, without 
hesitation, should name the style required and 
the class of goods from which it ought to be 
made. This should all transpire before the 
goods are shown to the purchaser, there be- 
ing no trace of vacillancy or uncertainty in 
the cutter's manner or language, but an easy, 
dignified, yet courteous, assumption of author- 
ity that is not to be doubted and which will 
carry conviction of its correctness. Such a 
stand makes a most favorable impression on 
the customer, and he goes away satisfied that 
he has placed his order with a tailor who has 
a thorough knowledge of his business. 



MISCONCEPTION OF HEIGHT 
THEORY. 

There is a marvelous amount of diversified 
misinformation of the crude kindergarten 
school form of misconception abroad anent 
the theoretic and practical application of the 
total height measure in coat cutting ; for ex- 
ample, the head cutter of one of our large mail 
order trades told us of having placed an or- 
der for a set of Raglan patterns with a New 
York publishing house. On receipt of the par- 
cel the cutter wrote asking information re- 



PROGRESSIVE ANTHROPOME-TRICAL SARTORIAL ART SCIENCE. 



35 



garding the height of men that the various 
sizes were intended to fit, and received a re- 
ply to the effect that there is no such thing 
in coat cutting as a height consideration in lo- 
cating the depth points. The sulphuret lan- 
guage used by the cutter above referred to 
when telling us of the reply received we shall 
never quote ; suffice it to say, the New York 
house and all connected with it were con- 
demned beyond redemption, with a free con- 
signment to His Satanic Majesty as a bunch 
of rancid ignoramuses, and his vulgar, un- 
repeatable, condemnatory comments, were as 
vigorously endorsed by some half dozen listen- 
ers. At the risk even of being denounced as 
another ginkety-jink and blinkety-blink ig- 
norant son of a female dog, we declared the 
statement made by the New York publisher 
to be theoretically wrong and practically cor- 
rect. It is to Dr. Wampen that tailors are 
indebted for the accurate scientific adjustment 
of the theory of disproportion in height as 
compared with circumference, a theory used 
by Wampen for the sole purpose of illustrat- 
ing a scientific principle, and used only in the 
neophyte stage of his instruction in the fun- 
damental principles of his science. 

His seeming, all embracing theory of height 
as compared with circumference of breast is 
so alluringly seductive to the partially in- 
formed cutter that a large number of fakirs 
whose arrogation to the possession of ability 
enabling them to teach the science of cutting 
in their ill timed, impetuous snatching at the 
substance, have caught the shadow only ; the 
mere abstract form, or speculative subtilities 
and having jumped to the conclusion that 
"that settles it," without further research their 
misconception of the theory of disproportions 
is accepted, clung to and taught as being an 
indisputable and practically correct principal 
of cutting; in their injudicious haste to "get 
there ;" they never pause to consider the Ifs 



of proportions and disproportions, hence the 
cause of so much misfit trouble to cutters, who 
knowing a little don't know enough to be able 
to understand that they don't know it all. 
These superficial teachers, like the star-nosed 
mole, imagine themselves to be extraordinary 
deep, when they are exceedingly near the sur- 
face. It is a very common occurrence in our 
every day practice to measure a man who is 38 
breast and six feet high, with a shoulder level, 
depth of scye and natural waist level one to one 
and a half inches less than the other 38 breast 
customer whose total height is only five feet 
eight or less even, but simple as the solving of 
this problem is, it is seemingly too deep for 
the brain plumet of these total height theory 
teachers to be able to take soundings. So as 
to more clearly illustrate the absurd imprac- 
ticability of locating the depth levels by a di- 
vision of the total height, let us suppose we 
have two men each 42 chest measure, the one 
five feet six and the other six feet, the two 
men having gone through the exact same pro- 
cess of muscular development, the muscles 
trapezus, deltoid, teres major, pictorales major, 
latissmus dorsi, and sarratus magnus all hav- 
ing increased in the same ratio, and to the 
same extent in both men, necessarily produc- 
ing the same depth of acromm point level, 
axilla depth level and natural waist length, 
all of which is no uncommon condition. We 
can imagine nothing more ridiculous than a 
sight of those pouter breasted wiseacre, total 
height philosophers, gravely posing as teach- 
ers of sartorial art science, while they sol- 
emnly instruct their pupils, explaining that it 
is absolutely necessary for them to cut a 
shorter shoulder level, a shorter depth of 
scye level, and shorter natural waist line level 
for the five feet six man, advising all of these 
"killing" changes, mark ye, for no other rea- 
son than the sole fact of this man's legs being 
six inches shorter than the six footer. 



36 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



WHAT DR. WAMPEN SAYS. 

When treating the question of slender form 
at page nine of his work, Dr. Wampen states : 
"This O A is at least equal to | b, but it must 
be taken larger according to circumstances, 
depending on the height of the figure in the 
axilla; sometimes O A=^b J at other times 
equal to J b." The same degree of additions 
to be made to the 3} on the front line of the 
fore part. * * * 

Anthropometry recognize but three differ- 
ent kinds of form in the human figure — pro- 
portionate, slender, and broad. The practical 
application of the principle affiliate the second 
(slender) on the proportionate, as one scale 
is only necessary to form a coat for each kind 
of form, these are — normal, where height is 
smaller than breadth, and those whose height 
is greater than proportionate to their breadth. 
But as the human figure in this respect — 
namely, in the whole height to the thoracical 
circumference — is very rarely so far abnormal 
as to render it necessary that it should be 
taken into consideration in constructing mod- 
els for the arrangement of drapery, this ab- 
normality becomes here of no moment, being 
purely a scientific question." So writes Dr. 
Wampen ; even in extreme cases the function 
of the scale of height is only to define the 
supposed natural waist line, and for no other 
purpose ; practically, the breast measure is the 
sole element of action to form a coat for the 
tall thin figure, the height being virtually dor- 
mant — the ever-changing length of body, in 
its relation to the entire height, is too mutable 
to be fixed by any other agency than abso- 
lute measurement; tall men are occasionally 
high biped, and often men of medium height 
are found long in the body. 

A mere modicum of discrimination and ra- 
tional investigation is all that is necessary to 
enable the practical tailor to clearly see the 



falsity of those shallow fakir, height theory 
teachers, whose unsophisticated dupes are 
legion. When the common variations of phy- 
sical form are more intelligently deliberated 
and Dr. Wampen's absolutely correct system 
of treating them are more generally under- 
stood, the ruinous expenses of the busheling 
departments will be very much reduced. 



THE GREAT BULK OF THE CUTTERS' 
TROUBLES. 

The great bulk of the cutters' troubles are 
located within the boundary lines of the crease 
edge of collar and the axilla, or scye level 
depth, and the cutter who understands Wam- 
pen's method of treatment experiences but lit- 
tle concern, and now that the Americanized 
Wampen system is within such easy reach, 
there is no longer a plausible excuse for the 
cutter seeking for, or struggling to secure, 
a happy hereafter, by working through a maze 
of dismal brain straining, nervous uncertainty, 
for herein is an absolutely correct, practically 
adjusted, simple method of procedure, a study 
of which has never failed to make the great 
bulk of the cutters' difficulties avoidable. 



THE IMPETUOUS AMERICAN. 

"What need a man forestall his date of grief, 
And run to meet what he would most avoid." 
The ever impetuous American as a rule has 
no time to waste in mastering the prosaic pri- 
mary details of a trade or profession and 
therefore 'will often with imprudent haste 
make a dash for, and sometimes in one bound, 
reaches his most exalted professional aspire- 
ment. "Assume a virtue if you have it not" is 
his motto, and there and then he poses as a 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



37 



specialist, and he often sticks by what he 
proudly calls his "diplomatic nerve," and when 
pressed by necessity because of a lack of 
knowledge of general details, he studies down 
toward the acquisition of fundamental prin- 
ciples. 

In the old country men do not specialize as 
they do in America. In Great Britain the ac- 
quirement of a more extensive knowledge of a 
trade, art or science is imperative, and there- 
for the system of training is on a broader 
scientific basis, making the Britisher better 
fitted in a general way to keep in touch with 
progressive methods. In recent years, how- 
ever, the proprietors, more especially of our 
higher class houses, are awakening up to a 
realization of the fact that a veneer of mere 
empiricism is now helpless, and the trade is 
getting to ever more generally understand 
that the possession of a basic theoretic knowl- 
edge is the paramount qualification of a cut- 
ter. Dr. Wampen lays down an elaborate 
scientifically adjusted theory of heights and 
relative widths, all of which forms an inter- 
esting study; its chief purpose, however, is 
the establishing and illustrating of a scientific 
theory, that is metaphorically, rather than 
practically correct and therefore of little real 
value to the more advanced practitioner. In 
saying this do not suppose us guilty of har- 
boring the erroneous belief that a theoretical 
knowledge of the principles of cutting are not 
necessary, for we are fully alive to the fact 
that theory and practice must ever go hand in 
hand. Theory without practice to test it, to 
verify it, and to correct it, is idle speculation, 
while practice without theory to animate it is 
mechanism ; in every art theory is the soul 
and practice the body. The soul without a 
body in which to dwell is only a ghost. The 
body without the soul is only a corpse. The- 
ory teaches what may be accomplished when 
practice has become skillful enough to work it 



out. The cutter to be thoroughly equipped 
for a successful career must first have the- 
oretical and then practical knowledge. This 
may be illustrated by taking a glance at the 
engineer ; he always works from theory to 
practice ; he theorizes in plans and specifica- 
tions ; he practices according to theory in ac- 
tual construction. The tailor who aspires to 
a successful discharge of the duties of the 
cutting room is distressingly handicapped if 
his avenue of approach lies through a mere 
routine practice of drafting angles and form- 
ing graceful curves ; his chance of securing 
a leading position in his profession will be 
much enhanced if he acquires a theoretical 
fundamental knowledge of how to produce a 
surface to cover the surface of all the varied 
forms of men. 



COMPETING FOR CUTTING HONORS. 

If two of our profession were competing for 
honors the man who has a theoretic knowl- 
edge of proportions, showing how to provide 
for the requirements of the degrees of various 
forms of disproportions, will come out far 
ahead of the cutter who has not commenced 
at the beginning by making a study of "the 
theory of providing for normal and abnormal 
conditions. The cutter with theoretic knowl- 
edge, although not supported by a very 
extensive practical experience can always fall 
back on his theory to figure out and provide 
for abnormalities and will invariably come 
out ahead of the one that has only his more 
extensive practical experience and haphazard 
guessing method, yclepted judgment, but 
judgment at best is so seldom true and so 
often false we claim it is foolish to substitute 
a mere guess for an ever reliable scientific cer- 
tainty, in the making of allowance to meet the 
requirements of abnormal depths, widths, con- 



38 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



cavities and convexities in forms and attitudes 
of customers. Young America, however, soon 
grows testless of the slow, prosaic, but sure 
procedure of building with technical details, 
the massive structure of sartorial knowledge ; 
he is impatient; he believes the span of life 
is too short ; he feels that opportunity is fleet- 
ing, and desiring to advance with greater 
haste ; he takes the bit between his teeth and 
starts off at a fierce gallop, thoughtless alike 
of the prickly cactus field that lies in front of 
him, a la cheval de frise, and the peel of the 
luscious banana that lies at every turning 
point, or the creepy chills of the malarial 
marsh that lies by the wayside, and the dismal 
swamp into which he may be inextricably 
plunged, or, peradventure, achieve success. 



ANOTHER MAN'S BRAINS. 

To the beginner we cannot too emphat- 
ically say, give the theory of fundamental 
principles your first and most earnest atten- 
tion, so that you may be able understanding^ 
to take hold of and successfully handle each 
new condition that comes your way. Become 
thoroughly conversant with the whole varied 
application of principles. The man who 
works from theory to practice is an artistic 
cutter, while he who concerns himself only 
with practice is but a machine tender, perhaps 
only a cog in the machine which another man's 
brain has devised and set in motion, like the 
rank and file of men employed in the mail- 
order and ready-made trade, who are handed 
a pasteboard templet with instructions to chalk 
around it and hew to the line. 



GOLD MEDALIST GEORGE W.DU-NAH 

George W. Du-Nah, of Edward Ely fame 
and international renown, whom the Master 
Tailors and Cutters of the United States and 



Canada selected as their ideal high-class 
sartorial art representative to the world's 
convention of cutters at the Paris Exhibition, 
and who, in recognition of his high-class sar- 
torial art ability, was honored by the London 
Master Tailors and Cutters with a most bril- 
liant ovation, an elaborately engrossed, gor- 
geously British framed complimentary ad- 
dress, and the most sumptuous banquet ever 
given by the London Sartorial Art Academy 
to a visiting foreign sartorial artist, when 
president of the Master Tailors' and Custom 
Cutters' Association, in one of his lectures de- 
livered in the Sartorial Art Hall, Chicago, 
said, when speaking of true sartorial art: 




GEORGE W. DUNAH. 

'According to my belief, it would be pre- 
posterous to attempt to draft rules or lay down 
laws for the producing of that ever-fickle 
commodity designated style. Genius cannot 
be fettered by conventionalism. An original 
mind, replete with its own exuberance, is sure 
to burst out in spontaneous overflowings and 
open to itself new channels. General rules 
and abstract principles may and have been laid 
down and accepted as guides for the inexpe- 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



39 



rienced and timid. I favor the adoption of all 
intellectual auxiliaries, but when we come to 
the general adoption of curved sticks and 
block patterns for the production of style, I 
draw a most emphatic taboo line. The resort- 
ing to such stereotype methods will damnify 
the draftsmanship and stultify the character- 
istic individuality or style of the most accom- 
plished cutter that ever scraped edge on a 
crayon. In speaking on this subject recently, 
Happle Hutcheson said : 'When I first came 
to America and saw such a universal use of 
block patterns and curved sticks I endeavored 
to discover the cause, and soon became satis- 
fied that it was simply a sequence of so many 
men doing duty as cutters who had acquired 
no technical knowledge of the trade,' * * * 
and, continued Mr. Hutcheson, 'that, in my 
opinion, accounts for such a remarkably con- 
spicuous monotypic character predominating 
in American tailoring. American sartorial 
art has a truly national character, but a total 
lack of individuality.' * * * All custom 
tailors who make pretense of producing artis- 
tic tailoring and claim to make first-class work 
should never fail to infuse characteristic fea- 
tures into every garment, each house striving 
to excel the other in producing ever more 
acceptable style. And while this principle is 
not adopted, I say high-class custom tailors 
have no right to complain of rich men patron- 
izing the cheap, uniformly stereotype tailors, 
or find fault with them for sending to Europe 
for what will give them a more distinctive 
tone or character. Just think what a dull, 
monotonous, drab-draped world this would be 
if we were all Quakers ! 

"Block pattern, curved stick, stereotype cut- 
ting is pardonable only among the cheap trade 
cutters, who are sought after more because of 
their ability to give quantity rather than apti- 
tude to give quality of workmanship. If the 
cutter be working in a house that pays second- 



class prices for first-class workmanship, which 
rs often the case, it is then even more neces- 
sary that he should have a thorough technical 
education, for if he has not the workmen will 
soon discover his lack of knowledge of the 
trade and unhesitatingly take advantage of 
this ignorance and work off the too common 
bluff, 'If it had been cut right it would be all 
right.' Just as you can experience a sense of 
satisfaction and pleasure at feeling yourself 
safe on shore while you see a ship tossed on 
the turgid waters of Lake Michigan, or stand 
safe in a fortification and view two armies 
join battle on a plain, the practical tailor can 
stand on his technical knowledge, enjoying a 
perfect sense of safety in the happy possession 
of the fortress of practical truths. From 
thence he views the plunging, chancing, bung- 
ling blunders and errors of his less fortunate 
competitors who, having had no technical 
education, but learned a system only, they are, 
by their ignorance of the trade they profess a 
knowledge of, compelled to hew to the line of 
their block patterns and curved sticks, know- 
ing that they cannot trust to their own knowl- 
edge of cause and effect, for a cutter is truly 
helpless and unsafe up to the measure of his 
ignorance of the technical or practical branch 
of our trade. The adventurer or chancer is 
just as likely to catch at the horn of danger 
as he is to grasp the handle of security. Be- 
ing untaught in the fundamentals of the trade, 
he will as readily listen in dull wonder to the 
crafty schemes of quacks as to the truths of a 
Dr. Wampen, a Dr. Humphrey, or a Happle 
Hutcheson. Like a blacksmith at the loom 
and a weaver at the forge, their workmanship 
can only be passed under the dim light of 
ignorance. As well put the cushion-footed 
camel in the snow and the swift reindeer in 
the sands and expect profitable results. * * * 
"The press and the pulpit have devoted 
much space and time in discussing the ex- 



40 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



travagance, the vice and the sin of following 
up the changes of fashion, but all to no pur- 
pose, except that of showing the inconsistency 
of their own practice. Cutters all know that 
while ministers preach down the practice of 
being guided by fashion in dress, there is no 
class of men so fastidious anent the little de- 
tails of their make-up as clergymen are. The 
generally accepted ideal sporting dude masher 
'is not in it' with Mr. Clergyman when it 
comes down to what most men esteem mere 
minor matters. Ministers know the social and 
awe-inspiring spiritual power of details in 
sartorial art work, hence their scrupulous 
care. Those 'pious men,' when denouncing a 
following of style or fashion, should ever re- 
member that while there is a concealment that 
is justifiable, there is also an open-mouthed 
humility that is censurable. When there is no 
David in the camp, Goliah is bolder in blas- 
pheming. There is no subject in or out of 
heaven that occupies so much of men's atten- 
tion as their personal make-up, and with this 
fact ever staring us in the face, we, as a pro- 
fession, cannot afford to stop searching for 
the hidden secret of the science of progressive 
sartorial evolution. The beautiful in art drap- 
ery is referred to by Socrates as 'a short-lived 
tyranny,' while Plato speaks of it as 'the spe- 
cial privilege of nature's favorites,' Theo- 
phrastus comes pretty near the truth when he 
speaks of it as being 'a silent cheat.' Theoc- 
ritus declares it 'a delightful prejudice,' Crea- 
des as a 'solitary kingdom of concrete concin- 
nity.' Domitian said that 'nothing was more 
grateful.' Aristotle affirmed 'it is better than 
all the letters of recommendation in the world,' 
and Ovid proclaims it 'an especial favor be- 
stowed by the sartorial gods.' The block 
pattern brigade of cutters could never consist- 
ently hope to merit such distinguished conv 
pliments. The cutter who depends on blocks 



for his productions may justly be compared to 
the tall-masted, stately ship that we see gliding 
up the river against the stream, as if drawn by 
some invisible tow-line, her sails hanging un- 
filled, her flag drooping. She has neither side 
wheels nor stern propeller, still she moves on 
in stately and seeming serene triumph, as if 
by the force of her own internal life, but we 
know that on the other side, hidden behind 
the ship's great bulk that moves so majestic- 
ally, she has a little tug lashed to her side that 
is doing all the work. We also know that if 
the hawser slips or snaps, the great ship will 
immediately begin to wallow, roll about, and 
drift hither and thither, a helpless and profit- 
less craft. Cut from the anchorage of his 
block patterns and curved sticks, the cutter 
who graduates under the tuition of quack 
teachers becomes a plaything for the billows ; 
the compass he steers by is lost, his system is 
broken up, the rudder of his craft is un- 
shipped, and all his cherished hopes blasted. 
The very essence of art is truthfulness. 
Nothing is so contemptible to the true artist 
as artifice. I therefore cannot too strongly 
recommend the non-acceptance of subterfuge 
appliances and a more diligent application to 
the cultivation of individual taste, style, and 
character. * * * 

"I would like to see you forming an explor- 
ing party for the purpose of starting out in 
search of the occult mysteries of the science 
of 'progressive evolution in sartorial styles.' 
At first sight the mere superficialist will be apt 
to regard my proposition as a Utopian dream 
and view it as an immitigable, hypochondriacal 
hallucination, but nevertheless the man whose 
mental penetration is keen enough to see 
deeper than the polished crust of optimism, 
cannot fail to duly appreciate my recommen- 
dations." 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



41 



SARTORIAL OUTLINE BEAUTY. 

Sartorial art outline beauty, or beauty in 
anything, for that matter, is a marvelously 
flexible platitude ; it is a self-evident, undefin- 
able something called harmony. But harmonic 
beauty, though everywhere acceptable and no- 
where denied, contains the most enigmatic of 
riddles. For what is beauty? Aristotle, 
who wrote so very agreeably on the subject, 
was unable to provide a definition ; but the 
ability which he lacked, he was artful enough 
to conceal, saying, ''The question is one we 
may leave to the blind." What suggestion 
could be more sleek and less satisfactory? 
Plato is even more reprehensible. In discuss- 
ing the subject he lugged in by the heels his 
theory of reincarnation, declaring that the 
charm of harmonic contour "is due to remi- 
niscences of what we once beheld when we 
were better than what we are." What could 
be less exact than that, and what could be 
more poetic? Poetry is a word derived from 
a Phoenician term which means "discourse of 
the gods." Without knowing anything very 
much about the latter, we are convinced that 
their discourses also lacked definitions. The 
Olympians exhaled the beautiful. Aristotle 
and Plato fed on it. It was ambient in the 
atmosphere of the Greeks. Yet what it is, 
and of what it consists, philosophers and gods 
alike have omitted to say ; and therein, per- 
haps, lay their wisdom. If the charm of the 
beautiful can ever be routed, we are of the 
belief that it will be by discussion. Burke 
attempted the task, and we think succeeded 
admirably. Here, according to him, are the 
properties on which beauty depends : "First, 
to be comparatively small ; second, to be 
smooth ; third, to have a variety in the direc- 
tion of parts ; fourth, but to have these parts 
not angular ; fifth, to be of delicate form ; 
sixth, to have colors bright and clear, not 



glaring, but diversified." Tastes differ. That 
is not our idea of beauty, but more like our 
idea rather of a wax figure for a Marshall 
Field display window. Here is another great 
man's failure to define human beauty, donat- 
ed by El Ktab, a Mohammedan : "Beauty dis- 
plays four forms of black — hair, eyebrows, 
eyelashes, and eyes ; therewith four forms of 
white — skin, eyeballs, teeth, and hands ; there- 
with four forms of pink — tongue, lips, gums, 
and cheeks ; therewith four forms of head, 
neck, forearm, and ankles ; therewith four 
forms of length — back, fingers, arms, and 
legs ; and likewise four forms of narrowness 
— eyebrows, fingers, nose, and lips. These 
twenty-four points, if not satisfactory, surely 
are at least abundant enough to be delightful. 
Beauty, if at all definable, may be defined as 
harmony. Its essence lies in the power of 
attraction, and when real it not only allures 
but also detains ; it appeals and appalls our 
sense. Beauty belongs alike to the lily and 
the panther ; we see it in the lamb and in the 
cobra, in the babe at the bosom and the buz- 
zard at its prey. Define it, will you, if you 
can ? An analysis is fatal to it. Du-Nah de- 
clares : "It would be preposterous for tailors 
to draft rules or lay down laws for producing 
that ever-fickle commodity." Du-Nah is 

RIGHT. 



HOW TO MEASURE. 

Our routine of taking and entering meas- 
ures in the order book, like all the rest of our 
work, is simple in form and free from confu- 
sion, being always intelligible to the cutter 
even who practices the most confused of 
scatter-brain methods. The measures as here 
given for the purpose of showing the order in 
which they should be taken and entered in 
book will produce a pattern of the same pro- 



42 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



portion as the drafts we give in teaching be- 
ginners. 

James B. Bishop, Inland Revenue Dep't, 

North James street, Hamilton, Ont. 

Ship Jan. 22, per Adams Express, C. O. D. 
$65. 

Three-button frock ; edges single stitched ; 
usual pockets ; silk lined ; sweat shields. Try- 
on Tuesday at 4 p. m. ; finished Saturday at 
noon. 2|, 9, i6£, i8i, 33, j\, 19!, 31^ 36, 
32, 37, ii|, 11-J-. 

Single-breasted notch-collar vest; no back 
straps ; usual pockets ; one inside b. p. with 
flap to button. 14, 24^, 36, 32. 

Coat measure reads as follows: Shoulder 
level, 2§; depth of scye, 9; natural waist, 
i6£; fashionable waist, i8|-; full length, 33; 
across back, 7J, and on to elbow, igf ; con- 
tinue to lower edge of knuckle joint of wrist, 
31I; breast, 36; waist, 32; seat, 37; strap from 
back neck to front of scye depth level, ni; 
blade from center of back to front of scye 
depth level, \\\. These measures are all taken 
with the coat off, and over the vest. Although 
we get the breast and waist measure when 
measuring for the coat, we always repeat the 
operation in measuring for vest, because many 
when being measured inflate their chest from 
one to three inches, and by the time the cutter 
gets to taking the chest measure for the vest 
the customer as a rule has ceased to think of 
doing the chest-expansion act, and in this way 
the vest measure serves as a most reliable 
check in verifying the correctness or incor- 
rectness of the chest measure as taken for 
coat. 

A PARADOXICAL ELEMENT IN 
MEASURING. 

Although measuring a customer appears, 
and is, a very simple process, it has the para- 



doxical element of it being almost impossible 
to take a measure that is indisputably correct, 
because of its being ever subservient to the 
will, fancy, or judgment of the measurer and 
the advice of the customer, and therefore is 
productive of the most varying results ; but the 
young aspirant for sartorial fame must not 
allow a knowledge of this fact to have a dis- 
couraging influence upon him, because the 
difficulty will ever be more or less common, 
according to the experience or ability of the 
cutter, notwithstanding even the gorgeous vi- 
sions and bold, extravagant statements of fake 
teachers of bogus systems and inventors of 
mechanical devices for harnessing up the cus- 
tomer and translating the "correct" size, form, 
and position to the pattern paper. 



THERE ARE NO ACTUAL MEASURE- 
MENT SYSTEMS. 

We never have had, and I think never will 
have, a literal, actual measurement system. 
We make the assertion, leaving doubt and 
theoretic incredulity to gnaw the bare state- 
ment. We know there are many so-called 
actual-measurement systems, but their mak- 
ers do not seem to realize the fact that actual 
measurement means actual distance, requiring 
no judgment whatever to settle the question. 
The actual length of a yard is thirty-six 
inches net, and no suave-tongued theorist can 
alter the fact. And as far as the cutter is 
concerned, he has no clearly defined, actual 
measure distance for either depth, breadth, or 
length ; the points are all ill-defined, indefi- 
nite, vague, and fantastical. In all the so- 
called measures of the human form, the cutter 
as yet has not one measure that cannot be 
taken more or less as the individual judgment 
of the cutter may deem correct ; and cutters 
even are fallible and may err. There are no 
actual depth, width, height, or length points 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



43 



in coat measuring. They may be taken too 
long or too short ; the circumference may be 
more or less, as the taste or judgment of the 
cutter may dictate ; and we know that all will 
agree with us in saying there is no actual 
measurement in that. One cutter in his judg- 
ment will declare it is 35J, a second will claim 
it is 36, while a third will swear it is 35! , and 
neither be correct. 



HOT-AIR BILLOWS. 

Laboring under such perplex conditions, be- 
wildered by numerous thoughts, enmeshed in 
the web of delusion, held in bondage by lines 
of prejudice or lashed on a flimsy raft of ex- 
pectancy and tempest-tossed on the "hot-air" 
billows of conceited, self-assertive, visionary 
hypothesists, ambitious, unsophisticated 
vouths, in answering the clarion call to future 
fame, are too often lured to the acceptance 
and practice of shallow, unreliable, false-con- 
structed systems. 



OUR INITIAL ALPHABETICAL AUX- 
ILIARY. 

Recognizing the difficulties attending the 
securing of absolutely correct measurements, 
often causing doubt to arise in the mind con- 
cerning the reliability of the measures as en- 
tered in the order book, we advise the use of 
a few short check measures, combined with 
the adoption of our initial alphabetical auxil- 
iary, the following list of which comprises the 
initial letter of nearly all the varied forms of 
disproportion met with in our every-day 
practice. 

Normal figure N. Hollow waist. .H. W. 

Corpulent figure. . .C. Large hips L. H. 

Thin figure Th. High shoulders . H. S. 

Tall figure Tl. Sloping sh'lders.S. S. 



Short figure S. Full chest F. C. 

Broad figure' B. Narrow chest.. .N. C. 

Erect figure E. Full back F. B. 

Stooping figure. ...S. Narrow back. ..N. B. 

Long neck L. N. Round back. . . .R. B. 

Short neck S. N. Hump back. . . .H. B. 

Thick neck.. . .Tk. N. Large blades. . .L. B. 
Thin neck. . . .Th. N. Small blades. ...S. B. 
In cases where the abnormal condition is 
very pronounced, add the letter V. or E., 
meaning "very" or "extra." When a meas- 
ure, for example, shows a very long neck, and 
yet the total scye depth is normal 3! shoulder 
level and 9 depth of scye level, these figures 
show that the neck is one inch longer than 
normal, and, the total depth of scye being 
only 9, he is very flat over the shoulder-blade 
section, showing that he is extra erect to the 
extent of one inch. If these figures were sup- 
ported with the initial letters thus, 3! V. L. 
N., 9 E. E., all doubt regarding their correct- 
ness would be removed, as the letters signify 
"very long neck" and "extra erect;" or if the 
above condition were reversed, if V. S. N., 9 
R. B., we here have a very short neck with 
round back, the neck being one inch shorter 
than normal, while the back is one inch round- 
er than normal. These two figures are both 
the same height and breast measure, but we 
have a difference of two inches in their shoul- 
der level or neck length, and also a difference 
of two inches between the shoulder level point 
and depth of scye level point, and yet the total 
scye depth is the same. The Dr. Wampen 
science places the goods exactly where it is 
required. After a cutter learns how to work 
out the system, the cutting of coats for such 
ill-shaped figures gives the cutter no concern 
whatever, because Dr. Wampen has given us 
a science that is equal to every emergency. 
Depth of scye, height of neck, or length of 
natural waist, etc., can always be accurately 
located by a thirds and fourths divisional sys- 



44 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



tern for the tailor's accepted strictly normal 
figure only. The size or measure of each sec- 
tion and subsection of the human figure are 
all alike variable, and as independent of the 
breast measure or total height as are the size 
of the head, hand, nose, or foot. All of which 
should now be clear to the understanding of 
the most obtuse, non-progressive cutter who 
clings to the old, delusive, pernicious practice 
of drafting by breast division and height meas- 
ure theories that are of no use except in. 
speculative cutting, as laid down by Dr. Wam- 
pen, for the mere purpose of illustrating a 
truly scientific principle of practical artistic 
cutting; and just as long as cutters continue 
to draft by those mossback, shuttlecock, hit- 
and-miss, thirds, fourths, sixths, twelfths 
plus and minus systems, just so long shall 
their cutting and fitting any one outside of 
"stock size and form" be a mere game of 
chance. 



DAMNING THE JOURNEYMAN. 

The rising generation of cutters, however, 
are in a more general way seeing and feeling 
the necessity of being conversant with the first 
principles of their profession, just as employ- 
ers are becoming ever more anxious to engage 
only those who possess technical knowledge 
and can prove their ability to intelligently 
guide, instruct, or show a tailor how to make 
a garment and work it up into good form. 
The day of incompetent cutters holding down 
their job by being past masters in the art of 
smooth bluff, and knocking of fellow-em- 
ployes, and at every stage of the game blaming 
and damning the journeyman, is slowly pass- 
ing out of existence, although there are yet a 
large number of men filling positions, in fine 
trades even, who are marvelously ignorant of 
the detail work of our trade. In the highest- 
class trades, however, the ukase is passing 



around that practice without knowledge must 
terminate. Imperfect old theories shall and 
are being discarded to give place to less com- 
plicated, more progressive, up-to-date, scien- 
tifically adjusted efficiency. As this simple, 
self-evident fact becomes a matter of more 
general knowledge, American teachers of the 
art of cutting will be forced to waken up and 
break away from their old minus and plus 
divisional methods as constructed by that ven- 
erable old Scotchman Duncan MacArra, who 
in his day and generation was regarded as the 
greatest sartorial light of the age, not even 
excepting the famous old Welshman H. 
Evens, who at a more recent date, i. e., 1830, 
published his work entitled "Llysorn y Dyl- 
leaydd" (Tailor's Lantern). 



A CRACKER- JACK CUTTER. 

Mr. Joseph Back, a bona fide tailor, an 
erstwhile cracker-jack Chicago cutter, and now 
the happy proprietor of one of our most pros- 




MR. JOSEPH BACK. 

perous exclusive, high-class trades, on a mem- 
orable occassion, when speaking comparative- 
ly of the merits of the many systems in past 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



45 



and present use, said in part : "A knowledge of 
the Dr. Wampen system makes a cutter's life 
worth living, and when it is placed on the 
dissecting table alongside of other systems, we 
soon hear the dull, dead, hollow, disappearing 
plunk of the great bulk of them as they plunge 
into the sullen waters of oblivion like a frog 
into a pond." 



OVER SEVEN HUNDRED SUITS PER 
DAY. 

E. H. Yonkers, of Ed. V. Price & Co., is 
deservedly conceded the honor of being by far 
the most successful head cutter and general 
supervisor of any of Chicago's mail-order 
trades, being in every respect master of 
his position, capable of increasing the ef- 




E. H. YONKERS. 

ficiency of his help by reason of his 
thorough technical knowledge and capacity 
for handling details — qualities which have 
won for him the hearty admiration and 
loyal support of his colleagues. Mr. Yon- 
kers' regular staff of forty-seven cutters 
had to be increased during the rush of last 
busy season to fifty-five, the lack of cutting- 



room accommodation preventing him from 
employing a larger number — a difficulty that 
has now been overcome, the firm having se- 
cured a twenty-seven year lease of a Franklin 
street ten-story building, where an allotment 
of cutting-department space has been made for 
the accommodation of seventy-nine cutters, 
giving the firm an easy cutting capacity of 
more than seven hundred suits per day. Mr. 
Yonkers being overseer of such a large work- 
ing staff of cutters and a keen observer, he 
has a most excellent opportunity for drawing 
contrasts and arriving at intelligent compari- 
son of practical results. We, in fact, know 
of no young man who has acquired a prac- 
tical knowledge of more systems, Wampen's 
included, than has Mr. Yonkers, and for the 
especial benefit of those who contemplate a 
cutting career we here give in part what he 
says anent the Wampen system: "It has been 
my special privilege to see the practical results 
of a greater number of systems of cutting 
than most men who are old enough to be my 
father, and there is no doubt in my mind 
concerning the superexcellence of the Wam- 
pen system. It is without doubt a most elabo- 
rately adjusted sartorial art light, dispelling all 
technical darkness and exposing subtle falla- 
cies, and, like every perfectly adjusted scien- 
tific principle, it is a marvel of comprehen- 
siveness, embracing every detail, yet so easily 
understood and so simple to practice I recom- 
mend it not only to beginners but to old 
practitioners as well." 



JOHN SANDELANDS PREDICTS UNI- 
VERSAL ADOPTION. 

In the inauguration of the house of Nicoll 
the Tailor was laid the foundation of a new 
era in American popular-priced merchant tai- 
loring. Nicoll has had many imitators but 



46 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



never a peer. The marvelous success of this 
famous house is largely due to the ever-re- 
sourceful brain treasury of Mr. John Sande- 
lands, whose management at headquarters 
and his skillful directorship of Nicoll's half 
hundred or more branch houses is proof suf- 
ficient of Mr. Sandelands being endowed in a 
marked degree with rare business perspicuity. 
When speaking of the recommendable and 
censurable features of the many systems in 
common use Mr. Sandelands said : ''During 
my twenty-five years' experience as an em- 
ployer of a large staff of cutters I have ever 
found that the men who understand the 
Wampen system invariably have the least 
trouble in giving satisfaction to our customers. 
Wampenite cutters never seem embarrassed 
when handling odd forms of men. All other 
systems, when placed comparatively alongside 
of the Wampen science, appear as mere twink- 
ling, blinking sparks that soon scatter, flicker, 
and expire under the vivid and ever-enduring 
refulgence of Wampen's anthropometrical 
science, which is "from ostentation and weak- 
ness free." It stands as the great cerulean 
arch of our profession, majestic in its own 
simplicity, and embracing all that is compre- 
hensible. In our branch houses, where we do 
so much no-fit-on trade, we can always make 
room for a respectable, sober cutter who uses 
the Wampen system ; and I feel safe in ven- 
turing the prediction that the day is not far 
distant when the Wampen method will be uni- 
versally adopted by all intelligent, up-to-date 
cutters whose desire it is to keep up in line 
with the front rank of artistic tailoring-. 



"THE CELEBRATED FRENCHMAN 
FROM CORK." 
Gold Medalist James Veale, author of the 
much talked of Fag-An-Bealac Admeasure- 
ment System, which some fifteen years ago 



Mr. Veale having declared that he had solved 
the problem and forever silenced all conten- 
tion ; anent the correct location of the shoul- 
der point. In replying to a toast at the Cut- 
was the source of a rather heated controversy, 
ters' banquet following the occasion of his 
capturing the gold medal for the best cut coat, 
Mr. Veale is reported as saying in part : 
"After serving my apprenticeship I left the City 
of Cork to go to London, where I jour'd it, until 
I made money enough to take me to America. 
I was not long in this country until I arranged 
for receiving a full course of personal instruc- 




JAMES VEALE, 
■ who at that time was the most 



tion from - 

popular of American authors and teachers of 
cutting, and I assure you, gentlemen, although 
I had a large measure of success, I had trou- 
bles enough to save me from being afflicted 
with the swelled head. * * * Some years 

later I arranged with Mr. for a course 

of instruction; he was then and is today the 
most successful popular American author and 
teacher of cutting. * * * In the mean- 
time I discovered that the two systems I had 
learned were only derivations of Dr. Warn- 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



47 



pen's science of anthropometry, and that as a 
matter of fact, the closer I could get to the 
Wampen science the nearer I would be to ab- 
solute perfection in the art of cutting. I there- 
fore tried to secure Wanipen's Science of An- 
thropometry and I am glad to be able to say 
that I, to some extent succeeded. I got a copy 
of the work from an old tailor by the name of 
Jinkens, whom I regret to say is a Sos-an- 
ach, but a very good sort of man for all that. 
The work, however, was pretty well used up, 
a number of leaves were lost, and a lot of 
them partly destroyed and tattered, but, muti- 
lated as the book was, I gathered much val- 
uable information from it ; which proved of 
great assistance to me in the more thorough 
completion of my Fag-an-Bealac Admeasure- 
ment System, which, as the name implies, 
clears the cutter's road to success. * * * 
But, gentlemen, after all is said and done, 
Dr. Wampen's xAnthropometric Science is the 
daddy of them all." Mr. Veale, who was very 
becomingly costumed in the dress of an Irish 
gentleman, resumed his seat amidst a tumult 
of bewildering and most uproarous applause. 
— The Chicasro Times. 



MAKING COATS BY ELECTRICITY. 

Mr. John Harper has for many years been 
popularly known to the Chicago trade and 
throughout the Middle as well as the Western 
and Southern States as "Harper the Chicago 
coat maker," an antonomasia that all who 
know him unite in declaring he has honestly 
earned. The magnitude of Mr. Harper's busi- 
ness having so far outgrown the workshop ac- 
commodation "limit of any of Chicago's obtain- 
able great warehouse lofts, he in 1902 secured 
a lease of the Northwestern University Dental 
College. The north balcony of this great 
lecture hall is now transformed into a visitors' 



gallery, from which may be viewed Mr. Har- 
per's working staff of nearly five hundred 
coat makers, all comfortably at work in what 
is not only the largest custom coat maker's 
workshop in America, but with its lofty ceil- 
ing and great skylights it is the most health- 
ful, being the brightest, cleanest, best-ventilat- 
ed, and most replete in every up-to-date mod- 
ern equipment, including electric power for 
sewing machines, heating of irons, and fur- 
nishing of light for his present staff of four 
hundred and eighty-seven coat makers. All 
his work being furnished by the middle and 
better class trades of Chicago and merchant 
tailors throughout the Middle, Western, and 











£L 


•■ ■ B 








p:-c,:;-.- 






! ■■ M 







MR. JOHN HARPER. 

Southern States, giving Mr. Harper, like Mr. 
Sandelands and Mr. Yonkers, a most excellent 
opportunity of comparing the practical results 
of a great variety of cutting systems. He, 
however, emphatically refused to give an ex- 
pression of opinion as to which, according to 
his judgment, is the best system for producing 
the most satisfactory results. "But," con- 
tinued he, "I must in all fairness admit that 
cutters who use the Wampen system turn out 



48 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



coats of most graceful outline and seeming 
perfect balance. The Wampenite cutters' al- 
terations, or, to speak more correctly, adjust- 
ments, are hardly ever more than corrections 
of lengths. So much so is this the case we 
usually put in the pockets and sew up the 
waist and side seams when making try-ons for 
cutters who use the Wampen system; and I 
can assure you if the Wampen system can be 
furnished to the trade in book form, couched 
in plain English, giving full details of all its 
practical applications for the production of all 
forms and sizes, there will be an enormous 
demand for the work. / say so because of 
my personal knowledge of facts. There are 
a great number of intelligent cutters who are 
very frank in confessing that they experience 
much trouble in procuring satisfactory out- 
lines when called on to draft very small or 
extra large sizes, a difficulty that those who 
use the Wampen system never seem to expe- 
rience." 



OUR RISIBLES STRAINED. 

Mr. E. Halseth, cutter for the highest-class 
trade in Los Angeles, California, said to us : 
"I cannot understand how cutters get along 
who do not know the Wampen system." While 
the comment produced a strain on our risibles, 
we replied : "You ought to know, seeing that 
you had been cutting for some years before 
we taught you the Wampen science." "Yes," 
he answered sadly, "but I want to forget that." 
Far from our mind the thought that cutters 
cannot get along without a knowledge of the 
Wampen system, because we have a most 
vivid knowledge of the fact that cutters can 
and do, but we also know that the most suc- 
cessful cutters of the highest-class trades, 
no matter how eminent they may be, always 
achieve still greater fame after they learn to 
draft and grade by the Dr. Wampen system. 



MOST HAPPY RESULTS. 

Mr. M. Filitti, ex-librarian of the Master 
Tailors and Custom Cutters' Association, is 
a practical tailor and takes a special pleasure 
in doing much of his own cutting. In con- 
nection with his regular high-class city trade 
Mr. Filitti seems to control the great bulk of 




M. FILITTI. 

Chicago's exclusive rich Italian patronage. 
Mr. Filitti says : "My practice with the Dr. 
Wampen system is replete with the most 
happy, satisfactory results." 



A STORM OF MISFITS. 

John F. MacRae, Chicago's famous Scotch 
Highland tartan kilt maker, in one of his con- 
tributions to the Record of Fashion, London, 
England, said in part : "There is nothing super- 
ficial or assumed in Wampen's works, hence 
the commonplace, 'The Wampen school of 
cutters are familiar with all the good points 
of all the good systems,' because all the good 
points of all good systems are incorporated in 
the Wampen science. Those who cut by other 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



49 



systems as a rule have but a dim, far-away 
conception of the supreme plenipotence of 
Wampen's science of anthropometry. The 
Doctor has given to our trade an ever-reliable 
sartorial art light, a knowledge of which 
saves cutters from being led astray by the 
ever-perilous suavity of clap-trap, ignis-fatuus 
illusionists, whose ever-evanescent produc- 
tions are 




JOHN F. MacRAE. 

"Like the snowflake on the river, 
A moment seen, then gone forever; 
Or like the Borealis race, 
That flit ere ye can point their place ; 
Or like the rainbow's lovely form', 
Evanishing amid the storm — of misfits." 



HOW DOES IT HAPPEN? 

It is sometimes asked, "How does it 
happen that the Dr. Wampen system of draft- 
ing and grading is not in common use?" The 
query is often met by asking another ques- 
tion, as, "How does it happen that the com- 



mon people do not eat the best cuts of meat 
and drink more commonly wines of the rarest 
vintage ?" We answer, there are a number of 
reasons that have contributed to the unhappy 
condition of preventing Wampen's system 
from being in common use. Chief among 
them was the fact of the learned Dr. Wampen 
being neither a book peddler nor a pupil 
solicitor, and, being financially independent, 
he, under the protection of stringent European 
copyright laws, held his book at a very high, 
and what was to the great bulk of the trade 
an absolutely prohibitory, price. His tuition 
fee was also far beyond the cash-paying 
power of the ordinary sewing tailor, the price 
for a complete course being ioo guineas 
(more than $500), while his book cost £10 
($50), and many who purchased or borrowed 
his anthropometrical works discovered that 
they had got a book couched in lofty, academ- 
ical pedantry entirely beyond their intellectual 
grasp — a fact that has been, and still is to a 
very great extent, taken advantage of by a 
certain class of cutting-school proprietors, 
publishers of monthly fashion-reporting jour- 
nals, and authors of feather-weight systems of 
the non-progressive, mossback order, whose 
innate, dominative self-love, passions, and 
prejudices have confounded their altruistic 
conception of both brain and heart, until they 
became so conscience-warped they can without 
scruple resort to the most ignoble procedures 
to attain their sordid purpose. We say they 
took advantage of this condition for reasons 
that are obvious, and to a large extent they 
succeeded in pulling the wool over the eyes 
of the trade by talking and writing a tremen- 
dous amount of sheer balderdash concerning 
the necessity of tailors requiring to make a 
special study of anatomical and algebraical 
science before they could learn to successfully 
practice the Wampen system, which, as a plain 
matter of fact, when shorn of its lofty, aca- 



50 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



demical diction, is so simple to learn and suc- 
cessfully practice that any tailor who has in- 
telligence enough to understand the figures on 
the common inch tape can learn it and apply 
it understanding^ and successfully ; and in 
that simple fact those narrow-minded, sordid, 
money-grabbing teachers saw their finish, 
hence their phantom, collegiate course scare- 
crow. The management of our gaslight com- 
panies might, with as much claim to a com- 
mon-sense consideration, advance the assertion 
that in order to be able to turn on electrical 
light, heat, or power with any degree of 
human safety it is eminently essential to take 
a course of study in the higher branches of 
scientific electrical engineering. Just as Edi- 
son has given to us the use of electric light, 
heat, and power through the simple process of 
turning an insulated switch, so has Dr. Wam- 
pen given to tailors the full force of his com- 
plete system of anthropometrical science 
through the simple use of our 36-unit gradu- 
ated tapes. And now we say to the hood- 
winked of our craft, how long will you con- 
tinue to hunt for happiness through systems 
that breed despair? 



PREPARING TO DRAFT, AND HOW 
TO DO IT. 

The easiest way is not always the best, but 
the easiest way to produce the best results is ; 
and therefore we advise all who desire being 
expeditious draftsmen to memorize the fol- 
lowing set of figures in the order in which we 
give them, before they make the slightest 
attempt to produce the draft of a pattern. To 
produce the skeleton points of back pattern, 
draw construction line from vertex point O 
to D; mark down from' O to shoulder level 
point A if; from A to depth of scye level B 
"j\ ; from' B to natural waist level C "j\ ; from 



C to fashionable waist level D if. From O 
square in to F 3 ; from A square in to G 7f ; 
from B to H square in 3f and continue out to 
I "]\ from B ; from C to J 2]-. From I to L 
square up 3! and on to M 5J from I. Square 
up from F to N §. Form top of back from 
N to O. At 3 / 1G from point N toward O form 
shoulder seam through point M and side seam 
through points L, H, and J to \ below square 
line at D. We cut down one-quarter of an 
inch below square line for the purpose of 
having hip tack on a level with hip buttons 
when coat is finished. It is unsightly, but 
not uncommon, to see the hip tack below hip 
button level. Form back scye from M. L. by 
adding \ to width of back at point M. One- 
quarter slanting out at point M produces a 
fairly broad shoulder, but if very broad shoul- 
ders be desired, increase the slant to the de- 
sired width. Bevel off. a trifle at scye end of 
shoulder seam, so as to> "clean- up" back scye, 
and on back seam at C "clean out" the small- 
est paring, not more than one-sixteenth of an 
inch. Mark in from point O at top of back 



seam to pomt 



Place straight edge at 



point marked thus, -J- with edge slanting out 
to, and resting on, point D at fashionable 
waist length, and from D draw line down to 
full length E 33 inches. Square in from E 
to E 2\ and form straight line from bottom 
of side seam to E. Add on i£, as per line P. P. 
and also i\, as per line R. R. at back seam. 
Those readers who love to stand on the moun- 
tain peak of our profession, but who dread the 
travel toil of climbing, are prone to deride 
our advice when we say that the student 
should not think of trying to draft a back pat- 
tern until after he has all the above points 
thoroughly memorized. Neither should he 
attempt to make further advancement than 
back-pattern drafting until such time as he 
can produce, without hesitancy of action, a 
clear, clean-outlined back pattern draft abso- 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



51 



lutely free from any indication of the curve 
line of beauty being anywhere marred by 
either the slightest jinkey inward bending or 
semblance of outward humpiness. When cut- 
ting back pattern, always leave on tag at 
shoulder seam as marked by dotted lines, and 
be very particular to cut sharp and square 
through point B j\ , splitting chalk-line angle 
from N to G — a line that we heretofore omit- 
ted telling you to draw, because we wish to 
emphasize the importance of it being located 
and cut through with the most scrupulous 
care. The very important part that this tag 
plays in unerringly conserving the perfect bal- 
ance of coat will in due course be self-demon- 
strative. 

The student having attained proficiency as 
a drafter of frock coat back patterns, may 
now proceed to memorize the skeleton points 
of breast, as per Plate A. Commence by 
drawing construction line O. O. From start- 
ing point O to A 2§, less or more, according 
to fashion or style desired; from point O to 
B i>± ; from point B to C 6J. Square in from 
starting point O to D 2\. From B locate 
shoulder point level E 7f, same as back shoul- 
der point level G. Draw line from point D to 
point E. Square across from C to F 5^ ; con- 
tinue through to G at 9 from C ; f rom G 
down to H "j\. From H square out waist 
line and mark point I § from H. By points 
I and G square out to J 8J. Between points 
H and I take out fish half an inch to three- 
quarters wide. Place back in position as in 
diagram. Square in at L if and form side 
body as per M. L. N., rounding off top of side 
seam \, taking nothing off at point of round 
over shoulder blade as per diagram. Mark 
top point of side body § in advance from point 
of side seam of back. Measure on a straight 
line from top of side seam of back to bottom; 
the net length, on a straight line from point 
to point, will give the correct length of side 



body when applied on a straight line from 
points M to N. Place angle line of back tag 
G. N. on angle line E. D. of breast. With back 
in this position form shoulder seam as shown 
on diagram. From F to K square up i\, and 
from K out to R 8£ ; from A to S i^ ; from S 
to E i\, or as fashion may dictate or taste 
desire. Place back, edge and edge with side 
body at L, and from back seam through to P 
on waist line, making allowance for the fish 
taken out at H. I. Mark the net half waist 
measure 16. From P to inner front edge 
line 2.\ is added for making up allowances 
for one-button frocks, and for three-button 
frocks add on 2,\ from point P to point Q at 
front waist. Make a pivot at point U on 
shoulder seam \ inch in from gorge, and 
sweep from N through V to front. Draw 
straight line from N to point where front 
waist line crosses sweep line at X, and form 
waist seam, hollowing up at Y i^, less or 
more, according to taste or fashion. Form 
front edge E. R. O. and X. Adjust width of 
shoulder from point of gorge to scye point 
to match back shoulder seam. In forming 
shoulder seam hollow slightly at point U 
and round off as per diagram. Form scye 
through K to N, sinking § below horizontal 
line at point marked thus, X, and see that the 
scye line is an unwavering curvature. When 
forming side body, after passing gracefully 
over the rounding to form receptacle for 
shoulder blade, see to it that there be left no 
suspicion of humpiness on side seam ; neither 
must it look hollowed out, although leaning 
gently toward the hollow form until point L 
is reached. Then let the chalk line veer 
slightly outward toward the final point N. If, 
after passing over the shoulder blade round- 
ing, the side seam be hollowed, the coat will 
be "killed ;" and if it be left full or rounding, 
it will be utterly destitute of good form, caus- 
ing handsome young men to appear as if af- 



52 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



flicted with some lumbaginous malady. When 
the aspirant to sartorial art fame has become 
as proficient in drafting fore part of coat as 
we advised him to qualify as a drafter of 
backs, he will henceforth experience no diffi- 
culty whatever in producing a pattern for any 
given size of coat. We therefore say to the 
student, continue drafting what we have given 
to you until all trace of amateurishness is re- 
moved from your handling of the tape, square, 
chalk, shears, and general outlines of draft, 
and never under any circumstances whatever 
allow your pipeclay to become blunt. Keen, 
clear chalk lines are a potent incentive to* the 
journeyman to produce good clean work. It 
is the untutored, narrow-minded only that can 
see but little in seeming trifles. A look may 
work thy ruin or a word create thy wealth; a 
warrior standing in successful bravery against 
a host of artillery may be pierced to death with 
a No. 9 needle ; a mote fanned into the gun- 
ner's eye is as bad as a spike in his rifle ; the 
dangerous bar in the harbor's mouth is only 
grains of sand ; the shoal that hath wrecked a 
navy is but the work of a colony of worms ; a 
despicable bug may madden the mighty ele- 
phant ; the kick of a cow toppled Chicago to 
primeval chaos ; a modicum of dust falsifies 
the balance of the scales. To the untidy use 
of blunt pipeclay may often be traced the ruin 
of balance and the total destruction of real 
sartorial art outlines. It is by the scrupulous 
scrutiny of trifles that we are enabled to pro- 
duce a perfect whole or elude the deepest 
wretchedness of a cutter's life. To the impul- 
sive student we say, never be in uneasy haste 
to rush off for the purpose of trying to draft 
something else, but stick! — in heaven's name 
stick to' what you are at until you master it 
so that you can see and feel the unbroken 
curvilineal sartorial art beauty ooze out from 
the razor-like edge of your pipeclay. Eschew 
that innate weakness so common to a class of 



worse than foolish degenerates who cherish 
the imbecile notion of being able to acquire a 
"complete knowledge" of a foreign language 
in six easy lessons — a silly idea that grows 
out of the fact of their having no desire to 
submit themselves to the "intolerable toil" of 
a reasonable amount of study. They would 
delight to stand on the mountain peak of their 
profession, but, as we have already said, 
they dread the travail toil of climbing, 
a weakmindedness that often causes he who 
would try to make plain a new reform 
to feel discouraged, because of the impatience 
of those who< think they should master in an 
hour a subject that for many years, perhaps, 
may have taxed the brain power of brainy 
men. Scorn to live in lethargy and die in 
ignorance, rather than study that you may be 
able to grasp concentrated wisdom and wield 
the omnipotence of truth. Accustom yourself 
to overcome and conquer difficulties. The left 
hand, for want of practice, is insignificant and 
not adapted to general business, and yet be- 
cause of practice it holds the bridle better than 
the right. An adage attributed to St. Francis 
of Assisi, which was early adopted and cher- 
ished through life by the great Italian re- 
former, Savonarola, deserves to be inscribed 
on the memory of every student : "A man 
knows as much as he works." It is needless 
for us to say how widely this truth is ignored. 
Many seem to forget that knowledge, like all 
other possessions that are worth having, costs 
a great deal. It is a huge mistake — yes, one 
of the greatest errors — to imagine that it will 
fall into our lap, while we in idleness sit, cross- 
legged, under the tree of knowledge. "If a 
man will not work, neither shall he eat," is 
a maxim as true in the world of mind as in 
the world of matter. In both departments 
indolence will clothe a man in rags and dis- 
grace. Sir William Hamilton says, "All com- 
mencement is difficult, and this is more espe- 



PROGRESSIVE ANTHROPOMETRICS. SARTORIAL ART SCIENCE. 



53 



daily true of intellectual effort ; but if we are 
vigorous enough to pursue our course in spite 
of obstacles, every step as we advance will be 
found easier, and kindred ideas flow with 
greater freedom and abundance. Thomas 
Carlyle declared that genius is "A transcend- 
ent capacity for taking trouble." The tailor, in 
pursuit of a knowledge of sartorial art science, 
must labor with the ardent devotion of a love 
that will never desist from its pursuit until 
it has gained the object of its desire. "Jacob 
served seven years for Rachael, and they 
seemed unto him but a few days, for the love 
he had for her." The great Blaise Pascal 
declared, "The sciences have two extremities, 
which touch each other. The first is that pure 
ignorance in which all men are born ; the 
other extremity is that which is reached by 
those great souls who have traversed the 
whole extent of knowledge, and return to the 
same sense of ignorance from which they set 
out. But this is that learned ignorance which 
knows itself." We have here the truth which 
corresponds with the statement of St. Paul : 
"If a man thinketh that he knoweth anything, 
he knoweth not yet as he ought to know." 



SKIRTS; HOW TO DRAFT. 

Square construction lines O., C. and E., 
diagram C, plate B. ; from O. to A. |, con- 
tinue to B. 8£; from B. up to D. if; from C. 
up to P. |; from O. to R. 9; from A. to E. 
one inch more than from D. to E. on diagram 
A., this extra length being required for waist 
seam and shrinking in of back skirt, which 
should be coaxingly worked back with the 
iron to form receptacle for rounding up of 
hips. Form top edge of skirt from P. through 
D. to A., and back skirt from A. through R. 
to E., adding on i^ to i| for back skirt pleat. 
Adjust distance from A. to P. to match waist 



width of fore part, allowing for any degree 
of fullness that may be desired over the hips. 
Form front skirt to' run in line with breast, 
cutting away or leaving full at front according 
to the dictates of fashion, age, class or style 
of wearer, taste of cutter or advice of cus- 
tomer, whose caprice should always receive 
the cutter's most respectful consideration. 
Never permit a contemptuous sneer to curve 
the cutter's lip because of customer's whims. 
A habit of sneering marks the shallow mind 
of ignorance, the egotist, the fool and the 
knave, or, perhaps, the whole combination. 



TO DRAFT THE SLEEVE. 

Square construction lines O., A., B., plate 
A., diagram C. ; from O. to C. 4; from 
O. to E. on oblique line D. 9 ; from 
E. draw square line to< G. from center seam 
cf back through O. to H. icjf. Continue 
to B. full length of sleeve 31 J, adding one 
inch for seams 32L Square across from B. 
to G. Mark up from G. to K. 1^; from K. to 
L. 6|. Form forearm from E. through M. 
to K., hollowing from plumb line at M. f, or 
according to degree of closeness desired. 
Form back-arm from O. through H. to L., 
curving out from plumb line at H. f, or ac- 
cording to requirements of taste or fashion, 
some requiring more and others less elbow 
width, from O. to A. 5J. Rising J above 
square line form sleeve top, from O. through 
A. to E. To form underside sleeve, mark in 
from O. to P. f, and curve from P. to E. 
through S., sinking not more than ■£ below- 
horizontal line at S. From P. to where line 
S. crosses horizontal line at C. do not hollow, 
but rather give an upward bevel, so that when 
the upper and under back-arm are laid down 
flat, edge to edge, the top edge of sleeve will 
form an unswerving curvilineal sweep, and 



54 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



thus form a sleeve top that will hang even 
from the scye. All the way around, in form- 
ing back-arm seam of underside sleeve, bevel 
in a trifle from P. to P., otherwise you may 
produce a slight humpyness on back seam 
that may mar the appearance of a marvelously 
beautiful hanging sleeve. When sleeves are 
not cut half-and-half, the inch, or at most inch 
and quarter, cut off under side, as per dotted 
line, has its equal left on at fore-arm of upper 
side. All the sleeve points are, of course, lo- 
cated by using the unit graduated tape, except 
the sleeve length, which is always located by 
the common inch tape. Many cutters, hoping 
to secure a clean-fitting undersleeve, drop into 
the fatal error of hollowing top edge of under- 
side too much, causing the sleeve to slide up 
the arm when the wearer uses a knife and 
fork, salutes a friend, drives a horse, uses a 
rifle, casts a fishing line, etc., etc. A preacher, 
a tragedian, a platform orator, a coachman, 
and more especially a soldier, should always 
have the top edge of underside sleeves as lit- 
tle hollowed as possible, more especially where 
deep, easy arm holes are inperative. A safe 
rule to apply for the production of a medium- 
sized sleeve is to make elbow width f of a unit 
less than distance of angle from O to E. The 
sleeve hand width of very large sizes, as a 
rule, should be cut less than 6^ units, because 
the hands but seldom increase in proportion 
with the breast measure. By marking sleeve 
hand width 6i with graduated tape, and also 
6-J with common inch measure, and then split- 
ting the difference, we secure a well-propor- 
tioned sleeve hand width for sizes over forty 
breast measure. 



SLEEVEOLOGY. 

To the cutter who understands Dr. Wara- 
pen's science, the cutting of perfect balanced 
sleeves presents but few, if any, difficulties for 



the sole reason that, to the learned doctor, the 
solving of the whole problem was but a simple 
anatomical, trigonometric, mathematical de- 
duction of analytical geometric balance, the 
ever unfailing accurate reproduction of which 
he reduced to a simple practical mechanical 
method of procedure; and yet we question if 
there be any other subject connected with coat- 
cutting that has given the average cutter so 
much worry or been conducive of so much 
literary effort, acrimonious controversy, loud- 
mouthed bacchanalian babbling and table- 
thumping disputations. The quantities given 
in diagram C, plate A, produce a perfect 
hanging sleeve for any of the forms of coats 
represented in our book. The fore-arm pitch 
in all forms of coats is placed § above bottom 
of scye, level with back scye sleeve pitch at 
4f above scye level depth. The top fore-arm 
point and top of back arm being the two car- 
dinal points of sleeve hanging, it naturally fol- 
lows that the height of sleeve rise O. C. should 
harmonize with the height of back scye sleeve 
pitch level and depth of front scye pitch level, 
and therefore, as we increase the distance O. C. 
we cause the sleeve to hang more forward 
and in conformity with the requirements of 
the flat-chested, stooping figure, and by reduc- 
ing the distance O. C. we cause the sleeve to 
swing more backward, and thereby bring the 
hang of sleeve on a plumb line with the arms 
of the erect or extra-erect figure. The lack 
of space prevents us from here entering more 
fully into the varied details of procedure 
in producing sleeves for extremely high or 
very low back-arm pitch, or excessively broad 
or abnormally narrow shoulders, and for that 
reason we will content ourselves' by briefly 
explaining how to test the accuracy of adjust- 
ment of size and form of sleeve top, and a 
perfect hanging balance for normal con- 
ditions, meeting all the requirements of pre- 
vailing fashion in relation to size and the 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



65 



amount of fullness required. We may here 
remark, however, that a perfect fore-arm and 
back-arm balance may be distressingly im- 
paired by giving too much or too little round 
on top edge of sleeve, the over-scanty form 
causing the sleeve to hang draggingly from 
around the shoulder top, while the too round 
form will cause the sleeve to hang entirely 
from the back and fore-arm points, exhibit- 
ing a horrid superfluity of goods, forming a 
multitude of crinkles, bulges or lappings, in 
degree according with the amount of superflu- 
ous goods ; preventing the sleeve from draping 
with even, easy gracefulness from scye seam, 
all the way around the back, top and front 
shoulder. 



THE BEST TEST OF ACCURATE 
SLEEVE ADJUSTMENT. 

To know that you have your sleeve pattern 
accurately adjusted to meet all the require- 
ments of size of scye and form of shoulders, 
place shoulder seam' of back and breast in a 
closing position (see diagram E, plate B), 
and draw line D from back scye sleeve pitch. 
Through front-arm sleeve pitch place top of 
back arm seam, at back pitch, with top of 
fore-arm seam touching line D at E, allowing 
sleeve top to pass over on shoulder as at H. 
If sleeve laps over more than one and a half 
inch the sleeve top rounding is too high, or 
the shoulder too broad, to allow the sleeve to 
hang evenly from the seam all the way around. 
And if the lap-over be less than one and a half 
inch the top of sleeve is too flat, or the scye 
edge of shoulder of coat is too much hollowed, 
to be productive of satisfactory results in 
fit, style or hang of sleeve, and to be in per- 
fect harmony with width of scye the 
fore-arm seam should pass front-arm pitch 
to E at one and a half inch from 
front edge of scye. And let us just add 



that if the fullness around sleeve top be not 
evenly distributed in the right quantity, at the 
proper place, the most perfect balanced sleeve 
ever produced will be thrown out of kelter. 
We have seen good hanging sleeves that 
would not come up to the standard of our 
test, but the sleeve is an ever reliable and per- 
fectly adjusted one when it does agree in 
every particular with the above test, and the 
Americanized Wampen sleeve is ever equal 
to the ordeal. 

SO DELIGHTED WITH WAMPEN'S 

SLEEVES. 

Regimental master tailors, as a class, have 
long endured a great deal of mental agony 
because of their lack of knowledge of a good, 
self-adjustable system for the production of 
a good-fitting, "all-purpose" regimental sleeve. 
So delighted was Sergeant Henry Nesbit, 




SERGEANT HENRY NESBIT. 

master tailor British Royal Artillery, with the 
general results obtained from our course of 
instruction that he sent to us Master Tailor 
Bloomfield, of the Sixtieth Royal Rifle Bri- 
gade — King Edward VII. father's regiment- 
as he said, to learn the Wampen system., "and 
have forever done with this military armbole 
and sleeve trouble." 



56 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



DEGREES OF DISPROPORTION. 

In the Dr. Wampen science there are two 
degrees of disproportion of size of chest and 
waist, giving a well-defined scientific adjust- 
ment of balance for the uniform and graceful 
distribution of drapery, in perfect accordance 
with abnormal increment of the adominal re- 
gion, leaving nothing to guess work, as in 
divisional systems. The first degree consists 
of four inches. The limit, therefore, of the 
first degree is thirty-four waist, that is, two 
inches, or units, less than the circumference 
of chest, but there is no measure limit to the 
second degree of disproportion in size of waist. 
The expression, "A fourth of the first and a 
half of the second degree," should be indelibly 
stamped on the memory and thereby avoid 
the errors of confusion. In order to secure 
an easy, graceful distribution of goods, in per- 
fect conformity with the natural increment 
in size of waist, the first degree is disposed 
of in the following manner : In drafting pat- 
tern for the Wampen model figure 36 breast, 
30 waist, the suppression at waist point is 2\. 
But let us suppose the waist measure to have 
increased in size to 32, or 16 half waist, as in 
our normal, not the Wampen model, draft. 
In this case we have two inches of dispropor- 
tion in the first degree to dispose of, which 
means one inch in the half waist. A fourth 
of the first degree in this case would be one- 
quarter of an inch. This quarter of an inch 
is to be added on at natural waist suppression 
point, making it two inches, in place of two 
and a quarter, as in the Wampen model, the 
remaining three-fourths to be added on at 
front waist ; proceeding in like manner until 
the increase of waist reaches the full limit of 
the first degree, thirty-four, or seventeen half 
waist, which gives us two inches to dispose of. 
A fourth of two inches being a half inch, we 



apply the half at waist suppression point, 
which means that we mark in only one and 
three-quarters, in place of two and a quarter, 
as in the Wampen model, 36 B, 30 W, carry- 
ing the remaining one and a half inch to the 
front of waist, which simply means, having 
located your suppression of waist point, you 
form your side seam line, place your back in 
position, and measure from center of back (al- 
lowing from one-half to three-quarters for fish 
taken out at side-body) at natural waist line 
to front 17, with 2.\ inches added for making 
up if for a one-button frock, and 3! in case of 
a three-button frock. The total waist meas- 
ure with additions for making up, like the 
shoulder level, depth of scye level, and natural 
waist length, are all located by the use of the 
common inch tape ; all the other points are 
marked by using the Happle-Hutcheson copy- 
righted graduated unit scale corresponding 
with the circumference of the chest. The lo- 
cating of the shoulder level, depth of scye 
level, and natural waist level by the common 
inch measure are but a few of the important 
points that are not understood by those pri- 
mary grade school graduates who teach the 
total-height theory as a principle of practical 
artistic cutting. A 42 breast, 35 waist, a 48 
breast and 40 waist, or a 54 breast, 45 waist, 
represents exactly the same model form as a 
36 breast and 30 waist. All the points of the 
various sizes are located in exactly the same 
way as described in locating the points for the 
36 size, the cutter in making the draft using 
the Happle-Hutcheson graduated unit scale 
corresponding with the size of pattern re- 
quired, for all the points except the levels as 
already explained and the final finding of the 
width of waist, which, as already stated, must 
in all cases, except in grading sets of block 
patterns, be marked by the common inch 
measure. 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



57 



THE SECOND DEGREE OF DISPRO- 
PORTION. 

Now that we have explained how to handle 
the increase in size of waist up to the full 
limit of the first degree, and presuming that 
the student has attended to our advice and 
now clearly understands the expression "A 
fourth of the first and a half of the second de- 
gree," we shall proceed to expound how to 
work in the second degree. Let us suppose 
we have a coat to cut for a gentleman, 36 
breast and 36 waist, or eighteen half B and 
W, which means that the gentleman has in- 
creased in size of waist until he is two inches 
in on the second degree of waist disproportion, 
or one inch on the half waist, eighteen. As 
soon as the waist increases in size beyond 
seventeen units of the breast measure, we 
proceed to distribute the goods around the 
waist by working in the second degree. In 
place of marking in at point H on the waist 
line I, we make it half of the second degree 
less than § , which in this case is half an inch, 
and means that, in place of marking in f , we 
mark in -J only; and from that point we 
square out to point J 8f . We then place scye 
depth line of back on top of line J. G. and 
square in at natural waist suppression line 
if, and form side body as in normal draft, 
then place back in a closed position at side 
seam. This done, then measure from center 
seam of back, using the common inch measure, 
and mark the net half waist 18 — remember- 
ing to allow for fish taken out at side body 
seam — in front of the front waist point 18. 
Add on 2\ inches for making up, if for a 
one-button frock or double-breasted Prince 
Albert, but if for a three-button frock add 3^ 
more than the net waist measure, and cut 
away from lower button according to taste or 
fashion. We cannot too forcefully insist on 
the student thoroughly familiarizing himself 



with his degree work by practicing on paper 
until proficiency in all details removes every 
trace of amateurishness. When the corpu- 
lency is very much to. the front, leaving the 
back waist hollow ; or when the seat is flat, 
or the hips small, we do not work the second 
degree, but apply all the increase of size in 
front of breast construction line, because if 
we did, the coat would hang away from back 
waist. If the second degree be applied in- 
discriminately to all forms whose waist meas- 
urement runs up into the second degree, we 
would have some scatter-brain cutter making 
a manifestation of his poverty of technical 
knowledge, while he, with inflated chest, 
poised on a well-advanced left foot, and in the 
ill-assumed, deep, sonorous tones of concen- 
trated wisdom, he will confidently explain to 
us that we had got the strap or front shoulder 
balance too long, and would have us to start 
right in and destroy a beautiful shoulder for 
the purpose of correcting an error of remiss- 
ness resulting in a misplacement of goods at 
waist. We say most emphatically, never 
change a shoulder for the purpose of improv- 
ing fit at waist or seat until after you find that 
there is no other resort, and then let the 
switching-around process, which is so often 
fatal to style and balance, be conducted with 
the most scrupulous care of a skillful me- 
chanic. Scatter-brain shoulder swingers are 
legion in America. 



AMOUNT OF ALLOWANCE FOR 
MAKING UP. 

When cutting three-button frocks, add on 
at front waist 3-| inches — not units — and cut 
away from lower button according to fashion 
or taste; and for one-button coats, 2.\ inches 
more than half waist measure ; for single- 
breasted Prince Alberts add on 3^ more than 



58 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



half of waist measure; for double-breasted 
Prince Alberts add on at waist from 2\ to 
2\. These quantities, while correct for me- 
dium-weight goods, would be too snug in the 
case of very heavy winter weights. For the 
dress coat, which is not supposed to button, 
many cut them to the net waist measure, which 
in our opinion produces a rather gimpy form ; 
we therefore recommend adding on one inch. 
The livery dress coat, when intended to be 
worn buttoned, requires 2,\ to 2-J, as in the 
double-breasted Prince Alberts. Sacque coats 
that are intended to button all the way down 
to or below the waist should always have 4 to 
4^ added on at front waist more, than net 
measure giving room for pockets, handker- 
chief, gloves, etc, etc. Always remember that 
the size of waist and seat, with additions for 
making up, like the depth of shoulder level, 
depth of scye level, natural waist level, seat 
level, full length of coat, and sleeve length, are 
always found by the use of the common inch 
tape, except when grading block patterns ; 
then all the points are found by the unit grad- 
uated tapes, except the total lengths of coat, 
sleeve, or vest. Our reason for repeating this 
information is because so many are slow to 
understand just where, when, and why the 
unit scale is dropped and the common inch 
tape taken up in using Dr. Wampen's science. 



DRESS COAT DRAFT. 

For dress coat draft see Plate C. Having 
led our student by the use of an alphabetic 
guide through the routine work of locating 
skeleton points of Wampen's constructive sar- 
torial art draft, we, in presenting diagram of 
dress coat, deem it only necessary to mark the 
points of draft in plain figures, the only 
changes in the quantities as given in frock 



draft being in the front breast allowance 
for making up, and the distance of angle 
point that regulates the crookedness of shoul- 
der, making it 8 in place of 7| as in frock 
coat draft. This change is made for the pur- 
pose of producing a more crooked shoulder 
and in this way cleaning up the front scye, 
giving the coat a closer hold around the fore- 
arm region and producing a seeming in- 
creased chest rotundity. In some cases this 
point may safely be changed to 8^-, or more 
even, but caution and gumption must be ex- 
ercised in making the deviation, because a 
trifle too much of a shoulder crook will pro- 
duce an unsightly crease from gorge shoulder 
point to lower front scye. To locate front 
edge, add on if at top of front breast on line 
with point 3^ front shoulder level and from 
the \\ up at front of scye mark out and locate 
front edge line at "]\ units, and from center 
seam of back at natural waist level mark for- 
ward with common inch measure — making al- 
lowance for fish taken out at side body — the 
net half waist measure, and add on one inch, 
less or more, according to taste, special re- 
quirements of customer, or degree of fullness 
or scantiness desired. Personally we favor 
one inch as per broken line, which in the 
hands of a good jour., who is an expert ma- 
nipulator, gives a neither too full, flabby, nor 
that low-class trade amateurish scantiness that 
was wont to afflict us with New York sarto- 
rial art ennui. In New York City we have 
actually seen distinguished American gentle- 
men, of national fame, with the lapels of their 
dress coat cut off on a line with the waist 
seam, the skirt strap coming flush with front 
edge of lapel. The sleeves of a dress coat 
should be a trifle narrower and shorter than 
the frock. The back pitch should also be a 
trifle narrower than that of the frock, and the 
hip buttons not quite so far apart as in the 
semi-dress form of coats. 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



69 



DRESS COAT LAPELS. 

The two forms of dress coat lapels as given 
on Plate C are a fair representation of the 
average outlines of the two most popular of 
present-day forms, the scimitar form being the 
greater favorite with the youthful dandy and 
semi-swell class of that order that are not 
socially recognized as of the regular "diner- 
out" order. This form of lapel is calculated 
to give more white bosom spread. Its bold 
outline sweep carries with it such a strong 
suggestion of swell, rakish dash we have posi- 
tively refused to recommend it to the clergy, 
while we declare it perfectly homogeneous 
with the make-up of the Thespian, and espe- 
cially well adapted to that of a swell ring- 
master of the modern circus, or any bunch of 
struggling old Beau Brummell sports that are 
striving to look young; but a full-fledged 
scimitar lapel would be fatal to the calm dig- 
nity of President Roosevelt, a Senator Depew, 
a Lyman Gage, or a Marshall Field, the 
Roman sword form', with its varied modifica- 
tions, being ever the most appropriate to the 
sartorial make-up of a true gentleman. The 
details of either of the two forms, however, 
should ever assume a becoming individualism, 
varying in form, width, and general outline 
according to age, physical form, class, or 
style of wearer, weight and make of goods, 
etc. Hollow scimitar sewing on edge, from 
J to i|, Diag. D, Plate C, represents i| 
curve. 



DRESS COAT SKIRT. 

Although the contour of the dress coat skirt 
is altogether different to that of the frock 
skirt, the skeleton points of draft for both 
forms are exactly the same, with one excep- 
tion, viz., the placement of front waist line, 
which drops to a level with horizontal con- 



struction line as shown on Plate B, Diag. D, 
this difference being made necessary for the 
purpose of "cleaning up" slack along front 
edge of skirt, a defect commonly seen in the 
low-priced products of the inartistic tailor. 
Length and breadth of strap and skirt are 
alike mutable, being ever subservient to fash- 
ion's vagaries or whimsicality of customer, 
his form, age, and general personality, all of 
which combine to give the cutter a most ex- 
cellent field for the exercise of his sartorial 
gumption. We here make no pretense of lay- 
ing down a form of outline that will be alike 
pleasing to the eye of every cutter or conform- 
able to the requirement of all customers, but 
we do declare that a precise reproduction of 
our diagram will produce excellent results for 
present-day normal conditions. Before seam- 
ing on skirt, we advise the pressing in of re- 
quired amount of fullness at waist, back and 
front skirt, providing a concave receptacle for 
hip and thigh convexity; and just here is one 
of the many points in coat making where the 
cutter's combined practical and theoretical 
knowledge of sartorial art comes up to prove 
or disprove his sesthetical ability, enabling him 
to properly instruct the tailor how neither to 
over nor underdo skirt form manipulation. 
For flat-hipped men we recommend the intel- 
ligently careful placement of a little wadding 
to help in producing that ever-pleasing hip 
virility so beauteously outlined throughout the 
ischidic region of the good-conditioned, well- 
groomed, thoroughbred fox terrier. For 
many years we kept a good one for the special 
purpose of using her as a model when advis- 
ing our coat makers. When a "greenhorn" 
would bring in a coat with that most detest- 
able, flimsy, lifeless skirt form of amateurish 
dress coat art, we had our terrier jump up on 
the cutting table, while we affectionately de- 
scribed her beautiful hip contour, and after a 
good jour, followed our instructions in draw- 



GO 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



ing his open palm over the little animal's hip 
he never failed "to catch on" to our ideal of 
the beautiful in skirt hip form. When the 
skirt strap corner and bottom of skirt are cut 
square, we always use the Roman sword form 
of lapel, with its modifications of widths and 
beveling suited to the varied personal require- 
ments of customer ; but when we cut the shawl 
front form or use the scimitar form of lapel 
in its most modified sweep of outline even, we 
always slightly round the skirt end of strap, 
and corner of bottom skirt is also slightly 
rounded off ; but a very pronounced rounding 
off gives the wearer a rather forceful tinge of 
the liveryman, the waiter, the song-and-dance 
man, or provincial tailor. . 



THE DOUBLE-BREASTED FULL 
DRESS PRINCE ALBERT. 

All the skeleton points of this form of coat 
are produced precisely the same as the even- 
ing dress coat, with one exception, viz., the 
additional increase at front waist for making 
up which should be two and a half inches 
more than half waist measure, as per solid 
front edge line, Plate C, so as to allow the 
lapel seams to lie exactly on top of each other 
without any suspicion of corset tightness. 



THE PRINCE ALBERT PROPER. 

This form of coat is cut very easy. A half 
inch extra width to front breast may safely 
be added all the way down except at top of 
lapel seam, one-fourth of an inch extra being 
enough at this point; the shoulders are made 
one-fourth of an inch broader; the back 
pitches from one-fourth to half an inch wider, 
according to class of goods, and the hip but- 
ton space increased or decreased, in all classes 



of body-fitting coats, in the same ratio as the 
back pitch. The lapels are also cut wider, 
with a little more rounding to the outer edge, 
allowing the top buttons to be placed further 
from the edge, giving an appearance of in- 
creased width to the breast and a more hand- 
some waist form. The American form of 
placing the waist buttons of double-breasted 
coats and vests the same distance in from edge 
at chest and waist gives the figure a very 
tame, straight-up-and-down, square-line, barn- 
door, expressionless, flat-breast form of make- 
up, while the more tapered style of button 
line gives enhancement of figure form, but 
this tapering, when overdone, is as hideously 
clownish in appearance as the wide setting at 
waist appears to those who have been accus- 
tomed to show in their work some respectful 
consideration for anatomical pulchritude of 
outline. 



PRINCE ALBERT SKIRTS. 

On Plates D and E we give two styles of 
Prince Albert skirts. Plate D shows the form 
of skirt most appropriate to the clergy and 
their meek followers; also all who, in the 
sight of their Maker and their fellow-man, 
walk with the measured step of orthodox hu- 
mility; or those who enjoy all their pleasures 
with the grave-faced solemnity of a recluse 
sage; or that class of men who carry around 
their ever-sour, green-crabapple-eating facial 
expression which so many cutters assume 
when telling the jour, that, "had he put on 
his ding-dong son-of-a-female-dog collar short 
enough the blasted coat would not hang away 
off so far at waist suppression point." But 
for the handsome, gentleman-like man, or him 
with the dash of militarism, commercialism, 
or cheerful-faced good-fellowism, the slightly 
bell-formed skirt makes the most becomingly 
swell coat. The 5 feet 4 and less in height 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



61 



man, like the very corpulent gentleman, 
should never be encouraged to wear a Prince 
Albert, except perhaps when required to con- 
form with the conventionalism of morning 
ceremonial functions; and if a man who, 
when having his hair cut, allows his barber 
to shave the back of his neck, desires to place 
his order for a stylish bell-skirt Prince Albert, 
an evening dress coat, or a Tuxedo, play any 
diplomatic trick you can to steer him away 
from the idea. Tell him that the most becom- 
ing costume he can put on is the straight- 
front three-seamer with peaked lapels, and 
22^-inch bell-bottom "pants." Should he per- 
sist in having one or all of the dress forms, 
tell him you cannot get them made in time. 
Ask him for a bit o' chewing; the man with 
the shaved back neck is always, or nearly 
always is, a confirmed tobacco eater, and takes 
kindly to the man who asks him for a chew. 
While he is handing you his "plug," assume 
the "con man's" low tone of speech and tell 
him that there is a h — 1 of a good tailor up 
Milwaukee avenue, or out in the stock-yards 
district, that can make him the real thing, 
with big, padded shoulders. No man with a 
shaved back neck should be allowed to indulge 
in the luxury of such a heinous combination 
or profanation of full dress. No sartorial 
dress coat artist was ever known to willingly 
sanction such an outrage on good taste. 



HOW TO HANDLE SHOULDER AND 
SCYE DEPTH LEVELS. 

Measure from nape of neck ; commencing 
at point one inch lower than where crease edge 
of collar is desired to reach ; to chalk mark on 
center of back as made when pointing off 
depth of shoulder level ; at, say, 2f , or what- 
ever it may be, continuing to depth of scye 
level 9, and on to natural waist length, etc., 



etc. When drafting back locate these points 
with the common inch measure, always mak- 
ing the shoulder level point one inch less than 
the shoulder level measure whatever that may 
be. When this measure is only if, mark down 
to locate shoulder level point on draft of back 
three-fourths of an inch only; and continue 
to depth of scye level 8, 9, 10, 1 1 or whatever 
it may be, remembering to make the 3! unit 
distance on breast construction line one inch 
less (2^) to correspond with shoulder level 
as marked on back; or if the shoulder level 
be more than 2§, say 3!, increase the front 
level 3! to 4^ so as to balance with the in- 
creased depth of shoulder level point on draft 
of back pattern ; but when the head leans for- 
ward, giving us a stooping form to provide 
for, the front shoulder level must not be in- 
creased so much, because it is only the truly 
erect figure that can carry the full length at 
gorge point. After draft is formed, place back 
in position, and make adjustment of strap 
length at gorge point to correspond with meas- 
ure, allowing 1 for making up, but do not 
change length of shoulder at scye point. The 
breast bone being a flat, inflexible surface — - 
accident or freaks of nature excepted — the 6^ 
unit distance on front construction line is ever 
unchangeable, and therefore the erect and 
stooping changes are made in the depth of scye 
level section of back draft to correspond with 
the increase or decrease as found in the stoop- 
ing, round-backed or erect figure. We advise 
the making of a number of drafts of long and 
short shoulder levels, depth of scye levels,- and 
their various combinations, sloping shoulders 
and round back, sloping shoulders and extra 
erect, square shoulders and round back, square 
shoulders and extra erect, and in this way be- 
come familiar with the work and appearance 
of all the varied figure forms. It is bad policy 
to cut a round back seam to provide for a 
stooping or round-backed figure; and more 



62 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



especially if the coat is being made of stripe 
or check goods ; length on a straight line cor- 
responding with the correct measure is what is 
required for round-shouldered men, and nip- 
ping- in at scye points. When a back seam is 
cut round the figure is made to appear more 
humpy, more especially if the goods be in 
stripes or checks, while a straight back seam 
always tends to- reduce the humpy appearance. 
It is a common practice with teachers of divi- 
sional minus and plus shuttle-cock hit and 
miss methods to- advise their pupils to allow 
less spring on, skirts for stooping and round- 
backed figures than for normal or erect, an ab- 
surdity that is the sequence of shallow- 
minded, colossal technical ignorance of the 
common law of cause and effect. The man 
with 37 breast and 38 seat requires the same 
amount of skirt spring, no matter what form 
his shoulders may be ; for example, if the 
round-shouldered man, 37 B. 38 S., puts on 
this size of coat as cut for the normal man, 
the hip buttons will dangle off at waist and 
the skirts will overlap each other as if the coat 
was cut with too much skirt spring. Take 
your knife and cut backs across from back 
scye to back scye, and the hip buttons will im- 
mediately drop to- their proper position, while 
the skirts will swing in to their right place, 
fitting the stooping or round-backed man just 
as they fit the normal man of same size, while 
the open space as shown in split back will 
show exactly how much too short the back 
section of scye level depth was for the round- 
backed man ; while on the extra erect figure 
the coat will seem to have too- little spring, 
but it has not. In this case pin up a fold of 
the surplus goods, shortening the back scye 
depth level until the hip buttons cease to sit 
too close to the figure, and then the skirt will 
assume its proper position and fit the same as 
on the normal build of shoulders. 



We cannot too forcefully impress upon the 
mind of the student the absolute necessity of 
taking measures correctly, and of his being 
especially careful to secure the net shoulder 
and depth of scye levels, so that he may more 
fully appreciate the importance of accuracy 
in taking the precise shoulder level and scye 
depth level. We advise him to take two 
strips of paper; on one mark off a if and a 
y\ inch space, to represent the length of shoul- 
der and scye depth levels, and on the other 
Strip mark off ij and 7§. Then place the 
one on top of the other, bringing the mark- 
ings together, and note the effect of these 
measures being but an eighth of an inch too 
short or too long. Just think of the worry 
and expense attending the removal of a tan- 
talizing little blister-like rising that appears 
on back just below the collar seam or between 
the shoulder blades, or the strained-like short- 
ness of back balance that draws the crease 
edge of collar out from neck or lifts the hip 
buttons away from the figure. There is no 
other point in coat cutting where the differ- 
ence of an eighth or a sixteenth of an inch in 
the adjustment of balance is of such vital 
import ; neither is there in existence any 
other system of coat cutting that conserves 
the balance with such perfect scientific accu- 
racy as does Dr. Wampen's. His provision 
for the perfect adjustment of acromial and 
axilla depth levels, combined with his degrees 
of chest and waist disproportion, gives us a 
sartorial art balance and counter balance as 
perfect in principle as the apothecary's weigh 
scales. The correctness of our assertion has 
been called in question only by cutters who 
never saw an exemplification of the science, 
or by men whose jealousy, prejudice, or pas- 
sion has hoodwinked their sense of the truth, 
causing them to make a sorry exhibition of 
their lack of intelligent manhood by resorting 
to the game of blind bluff; but these individ- 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



63 



uals should not forget the fact that doubts 
are the traitors that works the skeptic's ruin. 



J. F. SWIGERT TELLS HOW HE MADE 
HIS MENTAL WAMPEN VOW. 

One evening as our automobile swung out 
from Drexel boulevard into Midway Plais- 
sance in recognition of a familiar "Hello" 
we set our brake and had a chat with our dilet- 
tantish friend Mr. J. F. Swigert, cutter for the 




MR. J. F. SWIGERT. 



long-established high-class trade of Henry 
Turner. Mr. Swigert is a man whom the 
Lord in His wisdom has endowed with an 
ample measure of well-balanced gray matter, 
a good education, and a pleasingly happy 
fluency of speech. "We have just been talk- 
ing about you and Wampen," said he, "ex- 
plaining to my friend here my first really se- 
vere test of the Wampen science as applied to 
extremely long-necked, oblique-shouldered 
customers, my client's acromial level being 5! 
inches below the base of the fourth cervical 
vertebra, with an axilla depth level of nf, 
giving me a shoulder level to provide for that 



is 2| inches more than the normal figure, and 
yet the scapular region is truly normal, being 
7|- units of his 37 chest measure. Although 
the gentleman's cone-shaped shoulders are a 
fright to behold, I weakened on Wampen 
when I looked at the pattern as I passed it on 
to my cloth cutter, who just glared at it, and 
on taking another look at it I decided to 
reduce height of neck, and did so to the extent 
of three-quarters of an inch, and even then it 
was with feelings akin to fear and trembling 
that I approached my try-on, which landed 
exactly three-quarters of an inch too low on 
neck — a result that served to thoroughly sat- 
isfy me of the unreliability of judgment as 
compared with the scientific correctness of Dr. 
Wampen's high-and-low-shoulder level theory, 
causing me to there and then make a mental 
vow to always stick close to my measures and 
your beloved Wampen's teachings of the prin- 
ciple of producing a surface to cover a surface. 
The gentleman for whom I cut the coat has 
since told me that, although more than fifty 
years old, he never before had a coat made 
for him that would not slide off his shoulders 
when left unbuttoned." 



HOW CHARLES J. STACK SLIPPED A 
WAMPEN COG. 

One morning on calling in at Harry Buer- 
ger's, a high-class merchant, who is reputed 
to be Chicago's most superpunctilious em- 
ployer, a man who seems to pride himself in 
tolerating none around his elaborately uphol- 
stered and gorgeously mirrored sartorial art 
parlors exceptthe highest-class technical talent 
the market can furnish — on going in we were 
just in time to correct an error of Cutter 
Stack's, who had discarded the use of what 
is today the most deservedly popular Ameri- 
can system extant, and in his overhaste to 
start in using the Wampen system he had un- 



64 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



wittingly slipped a cog, and accosted us, say- 
ing: "You claim that Wampen's system will 
always produce an accurate surface to cover 
a prescribed surface, and here I am with a 
pattern cut for a long-necked, callow youth, 
and the shoulder strap comes out three-quar- 
ters too short for the measure." On taking a 
cursory glance at the pattern it seemed all 
right, but as the talented Mr. Stack informed 
us it was too short in the strap, we tested it, 
and with a semi-sardonic smile we replied : 
"Yes, Brother Stack, Dr. Wampen is O. K. 
every time, and don't you forget it. Like oil 
in troubled waters, he always comes to the 
top. When drafting the back you gave the 
proper amount, 2.\, for a 3-J shoulder level 
measure; but in drafting the breast you for- 
got to add the three-quarters for extra length 
of neck. You made the distance the normal 
3^ in place of 4; hence the shortage." "One 
on me," said Mr. Stack, and, suiting the ac- 
tion to the word, he handed us a clear Havana. 
We mention these two cases for the espe- 
cial purpose of showing to beginners how 
easy it is for thoroughly experienced, high- 
class cutters, even, to make an error of judg- 
ment or slip a cog. We are of the belief that 
the cutter who never makes a slip is entirely 
too good for this world, and in our opinion 
he is in no way whatever recommendable for 
the next, and therefore, like the dipsomania's 
monkey, he is in a most distressing predica- 
ment. We have often met self-perfect cutters, 
whose strong conceit had caused them to let 
slip their mental rudder, which their reason 
should have held for the purpose of steering 
their mind through a correct course. We 
have ever found the conceited, self-perfect 
cutter to be but a partially informed individ- 
ual, not knowing enough to know that he 
doesn't know it all, a person who too fre- 
quently allows himself to be carried away by 
the strong current or the fierce gale of a 



corrupt and vitiated fancy. If a cutter de- 
sires not to be thought a fool in another's 
conceit, let him be not wise in his own, for 
he that puts his sole trust in his own wisdom 
proclaims his own folly. He is, we think, 
truly wise, and shall appear so, when he has 
folly enough to be thought not worldly wise, 
and has just wisdom enough to understand- 
ing^ see his own folly. 

That man must daily wiser grow, whose search is 

bent himself to know; 
Impartially he weighs his scope, and on firm reason 

founds his hope. 
He tries his strength before the race, and never seeks 

his own disgrace. 
He knows the compass, sail and oar, or never 

launches from the shore. 
Before he builds, computes the cost, and in no proud 

pursuit is lost. 
He learns the bounds of human sense, and safely 

walks within the fence. 
Thus, conscious of his own defect, are pride and self- 
importance checked. 



THE SACQUE COAT. 

Now that the student of the Americanized 
Wampen system is — presumably — proficient 
in the art of drafting all the varied forms of 
body-fitting coats, he will experience no diffi- 
culty in proceeding to draft sacques, as the 
skeleton points are practically the same as in 
the frocks, the exception being in a few minor 
details. 



TO DRAFT THE BACK. 

Form construction lines O. E. and O. F., 
Plate F. Mark down from O to A if, 
from A to B j\, from B to C "j\, from C to 
D y\, and from O to E total length 29, with 
one-quarter of an inch added to full length 
for seam at top of back. Across from O to F 
3, from A across to G j\, from B across to H 
"]\, and continue to I 9. From C to' J \, and 
continue on to K 7, or whatever width of back 
desired. Square up from H to N 4^, and on 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



65 



to P 5f, from F up to S f. Form top of 
back from S to O. Form back seam from O 
through J to E. Shoulder seam from S 
through P at 3-16 out from vertical line H. N. 
Form back scye through M to I. Square 
down by C. K. and L to M. Square across 
from E to M at bottom, and from W at top. 
Place upper part of side seam at one inch 
from H and I, curving gently from W to K. 
Side seam of back may be formed anywhere 
between points N. W. I. and K. J. and lower M 
and E that fashion, form, desire, or taste may 
dictate, all of which changes may be made 
without in any way disturbing the balance of 
coat. For example, a regimental patrol coat, 
with its narrow backs curving from back scye 
line, at 3 inches above depth of scye level, to 
a waist line width (in some regiments) of only 
r$ inches, with their graceful, dime-form fit- 
ting side bodies. Bevel off shoulder seam 
slightly at point P. Draw angle or tag line 
G. S. and proceed to cut back pattern, leaving 
tag on shoulder as in the body-fitting coats. 
It is a good plan to remeasure all the points 
after the draft is formed. Our reason for 
giving this advice must be obvious to the 
reader, and should any of your drafts be not 
exactly to your liking, do not " hem and haw" 
over it, wondering if it is usable ; destroy it 
at once, and continue doing so until you do 
succeed in producing one that is perfectly 
satisfactory in every detail, and then the next 
will come easy. 



TO DRAFT THE FORE PART. 

Draw construction lines O. L. and O. D., 
Plate F, Diagram A. From O to gorge line 2§, 
or according to height of gorge line required to 
suit long roll, short roll, or buttoning-up pur- 
poses, fashion, or taste. The gorge line is 
ever variable ; 2§, however, is in line with the 
prevailing mode. The shoulder level line B. E. 



comes exactly in line with the top edge level 
of breast bone. With a knowledge of this 
fact, the cutter never has any trouble in lo- 
cating the gorge line depth required for cler- 
ical, regimental, or any other form of button- 
up coat. The 2§ therefore being a mere sub- 
sidiary quantity, we measure through or past 
it from, O to B 3}, from B to U 6-}, from O 
to D 2\. From B square across to E 7§, or 
same as to G on back. From U square in to 
H 5^, and continue to G 9. From H square 
up to C i£. From G square to K y\. From 
K square waist line S. Mark in from K to 
I f. Square by I and G out to J 8f . Draw 
angle line D. E. Place depth of scye line on 
back B. I. on top of line G. J. With back in 
this position locate top of side P. From P 
to R I inch. On a level with seat line D on 
back, mark in front of construction line *f, 
and from point marked thus, *, measure back 
to L half the seat measure, i8£, or whatever 
it may be. Making a pivot at line G. J. at 
side seam point, swing back seam out to point 
L* and point off at M width of back. Form 
side seam from P through M, hollowing side 
seam to the extent of f at waist line level. A 
straight line drawn from P through M is a 
great help to new beginners when forming 
side seam, rounding out from P to straight 
line, then curving in at waist to degree of 
closeness desired, and out over hip at point 
M. One-sixteenth added on beyond straight 
line over the shoulder blade, as a rule, pro- 
duces a cleaner back scye ; and in the name of 
all that is powerful we beg of you not to dig 
in to waist suppression point, but reach it with 
an unbroken serpentine curve, producing the 
slightest suspicion of a hip, rounding out be- 
yond M to the extent of a sixteenth and in 
heavy goods a quarter of an inch, this, as a 
rule, being ample to remove the dead flatness 
and produce that vigorous hip virility effect 
that is always beautiful to look at. To locate 



66 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



shoulder seam, place tag line G. S. even at 
point G of tag, with point E on breast ; then 
form shoulder, beveling off as per scye point of 
shoulder and hollowing slightly from, gorge 
point to point on shoulder seam as per dia- 
gram. Adjust length of shoulder seam to 
conform with that of back. Form gorge 
through 2§, making step point Y if from B. 
Split goods at point where lapel breaks, but 
cut nothing out, the seam being sufficient to 
clean up slack of gorge ; but if cutting for a 
cheap trade, where collars are slung on in 
haste by incompetent or careless machine op- 
erators, who strain the gorge out of shape, it 
is advisable to' make point Y shorter, and in 
this way we may to some extent counteract 
such untoward exigency. Place top point of 
side seam of back one-fourth below top of side 
seam of breast, and adjust length of side seam 
to match back. Then place point B of back 
on point U of breast, and adjust front length 
of fore part at L. Square across from side 
seam to a point ij below back length at L, 
and for large sizes check this adjustment by 
making a pivot on shoulder seam one-half 
inch in from gorge and sweeping from bottom 
of side seam te> front, and make front length 
at point where sweep line intersects construc- 
tion line O. L. Across breast from C to C 8|. 
Place waist line of back close with side seam 
of breast, and with the common inch tape 
measure across from back seam to point V 
one inch more than half the waist measure, 
and from point V add four inches. The waist 
width, with addition for making up, like the 
seat measure, is always adjusted by the use 
of the common inch measure. By waist line 
square down from point S, rounding off from 
lower button .in accordance with style of front 
desired. Finish formation of front edge 
through C and S, making lapel whatever form 
or size fashion designates or taste dictates. 
Form 'scye through C to P, forming an un- 



broken curve line as shown in the clean clay 
footprint of a thoroughbred race horse, sink- 
ing below horizontal line not more than 3 / 10 . 



THE DOUBLE-BREASTED SACQUE. 

To produce the D.-B. sacque, Plate G, lo- 
cate the skeleton points in exactly the same 
manner as in the S.-B. sacque, making the 
back width at waist 7^ to j\ in place of 7 as 
in the S.-B. coats. This increment of width 
is given for the purpose of producing back 
outlines in more perfect unisonance with the 
heavy D.-B. front form, which should be reg- 
ulated to some extent in accordance with the 
weight or class of goods, etc It is also in 
line with good taste to add a trifle to the 
width of the shoulders of D.-B. coats of any 
form whatever, and more especially that of 
the overcoat order. To form front edge, 
mark from front of scye to lapel seam line 
W. W. 7J. Mark location of lapel seam line 
W. W. at waist 2.\ more than half waist meas- 
ure, with 1 inch added. That is for a 32 
waist. Measure from back seam forward 16, 
with 1 inch added, which would be 17, and at 
a point 2.\ in front of the 17 mark point for 
your lapel seam line, and from this point 
square by waist line down to bottom length, 
which is located by the same process as in 
the S.-B. sacque. From shoulder level point 
l\ mark out if to locate top of lapel seam 
line W. W. The width of lapel and front edge 
form is largely a matter of individual taste. 
The cutter who is a slavish follower of 
fashion-plate publishers' outlines declares 
himself totally destitute of technical training 
and a lack of artistic sartorial art ability en- 
tirely disqualifying him as a competent cutter 
for a high-class trade. On one occasion, when 
visiting a cutter's association assembly in one 
of the largest cities in the United States, we 
were surprised to hear one of the members of 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



67 



the association propose a still more universal 
adoption of "one form of outline by all the 
houses," and we were astounded to see this 
absurd proposition so kindly received, not a 
dissenting voice being raised while the subject 
was under solemn consideration and warmly 
eulogized with grave-faced recommendation, 
causing us to mentally soliloquize : "By what 
strange law of mind is it that an idea long 
trodden under the foot of intelligent progres- 
sion as a useless stone, suddenly sparkles out 
in new light as a discovered precious dia- 
mond?" 

A good standard by which a handsome 
front outline may be formed is obtained by 
adding 3! at breast and 3 at waist. The lapel 
width points are both marked by the Happle- 
Hutcheson graduated unit tape, and lapel 
formed as per Diagram Plate G, varying, of 
course, in width and form to accord with make 
and weight of goods, button-up or long-roll 
requirements. The size and form we give is 
admirably adapted for a five-button spacing, 
with collar adjusted to roll two or button up 
four in the chill of early spring or late au- 
tumn. This form of coat has long been a 
special favorite among the best class of dress- 
ers, being admirably adapted for the special 
requirements of yachtmen and equestrians. A 
lengthy sacque, either single or double breast- 
ed, has ever been an abhorrence in the eyes of 
gentleman-like dressers, giving the figure a 
dowdy appearance, and is always suggestive 
of seat-worn, patched trousers. 



THE SINGLE-BREASTED CHESTER- 
FIELD. 

The Chesterfield Plate H, like the D.-B. 
sacque, is produced with backs and shoulders 
a trifle wider than the Oxonian sacque, and, 
as may be seen by reference to Plate H, Dia- 
gram A, the front breast width and front 



waist width is 1 inch more than in the Ox- 
onian; that is, from C at front scye to front 
edge is 9J, and in front of waist point S add 
on 5-| inches with common inch measure, so 
that buttons may be placed 3J- from front 
edge, giving ample room for a fairly free use 
of pockets. It is a common practice among 
cutters, more especially that class who toil in 
the lower strata of our craft, to make a differ- 
ence of half an inch less in width of breast 
when cutting a sacque that is not to have a 
fish taken out under the arm — a practice that 
has ever had our most emphatic condemna- 
tion. It is an illogical idea; when the sur- 
plus goods is removed the coat ceases to be a 
sacque — a subject we shall revert to under the 
heading Trade Nomenclature. 



THE DOUBLE-BREASTED CHESTER- 
FIELD. 

The D.-B. Chesterfield is produced by using 
the same quantities that are applied in locating 
the lapel seam line of the D.-B. sacque, this 
line forming the center of breast line, to 
which is added whatever width and outline 
form of lapel that may be deemed best adapt- 
ed to the class of goods, degree of bigness of 
coat, and personality of the wearer. 



AMERICAN HOTCH-POTCH OF 
TRADE NOMENCLATURE. 

For reasons that must be obvious to the 
reader, we, in compiling our book, have used 
America's ridiculously erroneous trade nom- 
enclature in the designation of the various 
forms of coats. We make this explanation to 
save us from being laughed at, knowing as we 
do that our book will be read by many who 
know coats by their proper names. Never- 
theless we feel it to be our incumbent duty to 



68 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



make an effort to straighten out America's 
confusing' mix-up of coat names. Throughout 
America the Oxonian sacque is known as a 
loose sacque, a half-fitting sacque, and the 
absurd, contradictory names body-fitting and 
corset-fitting sacque. Can you imagine any- 
thing more ridiculous than an otherwise in- 
telligent tailor telling a customer of the merits 
or demerits of "a body-fitting sacque" or of 
"a corset-fitting sacque?" Why not call it a 
loose, a half-fitting, a body-fitting, or corset- 
fitting Oxonian? In the name of heaven let 
me ask American "sartorial art teachers" to 
cease making the nations laugh in derision of 
them and their "corset-fitting sacque," etc., 
etc. Webster's definition of the word: 
"Sacque, originally a loosely hanging gar- 
ment worn like a cloak about the shoulders 
and serving as a decorative appendage; now 
an outer garment with sleeves, a kind of loose 
coat worn by men and extending from top to 
bottom without a cross seam." When the 
fish under the arm is not taken out of it, the 
coat is all that the word implies, but when 
made to fit close to the figure by cutting it a 
half inch less in size of chest or by taking a 
fish out under the arm, it ceases to be a 
sacque, and therefore should be correctly re- 
ferred to as body-fitting, a close-fitting, or, if 
you would rather have it, a corset-fitting Ox- 
onian. When double-breasted it is known as 
a "pea jacket" or "reefer," and when the 
sacque is in the form of an overcoat it is 
proper to speak of it as a form-fitting, demi- 
fitting, or loose-fitting single-breasted or 
double-breasted Chesterfield. In America the 
one-button, long-skirted, very slightly cut- 
away morning coat is miscalled the Chester- 
field, which in all other civilized and semi- 
civilized parts of creation is known to be a 
"top coat." The full dress D.-B. frock and 
S.-B. frock throughout America is called a 
D.-B. or S.-B. Prince Albert, which, as every 



well-informed tailor knows, is also a top coat, 
it being the favorite form of overcoat worn by 
the handsome young Prince Albert who mar- 
ried Queen Victoria of England. The New- 
market coat, which is a very handsome form 
of one-button D.-B. cutaway morning coat, 
with sewed-on lapels and good-sized flaps in 
waist seam, long a favorite and most becom- 
ing form for the higher-class, dashy man of 
horsey proclivities ; but in America what is 
called the Newmarket is a top coat with a 
Chesterfield front, slanting skirt pockets of 
the crescent form, with wide side bodies, hip 
buttons substituted by a crow's-foot, silk-em- 
broidered tacks, and without center seam in 
back. Judged by its clownish, inartistic out- 
lines, we regard it as a morbid creation of the 
cheap ready-made trade, and totally destitute 
of a single gentleman-like feature. Had this 
coat been yclepet the rancher's cattle-market 
coat it would have been more appropriately 
named, seeing it is the very antipode of the 
stylish British gentleman-like Newmarket. In 
America the one-button, the three-button and 
long-roll morning coats are called frock coats ; 
the shooting coat is variously designated "an 
English walking coat," "a frock coat with 
flaps and pockets ;" the pea coat, or D.-B. 
reefer, in all its varied forms of looseness, 
down to and including the "corset-fitting" 
form, is known as the double-breasted sacque. 
We have our own way of explaining the rea- 
son why such an absurd hotch-potch jumble 
of our trade nomenclature obtains in America, 
but seeing our explanation would not be com- 
plimental to the profundity of our American 
teachers of cutting and fashion-report pub- 
lishers, our respectful sympathy for them 
causes us to withhold our explanation. 
Throughout our book we have pointed to a 
few of their remissory errors, not by any 
means for the sordid purpose of "rubbing it 
in," but in the hope of being able to rouse 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



69 



them from their chronic state of mossback 
lethargy, and we sincerely trust they may 
receive our comments in the same kind spirit 
in which we proffer them, for the sole en- 
nobling purpose of luring them! on and up to 
the higher levels of modern sartorial art, 
thereby saving the rising generation of cutters 
from floundering through the find-it-out-for- 
yourself slough of despair, protecting them 
from brain-straining, sleepless nights and their 
predecessors' dire anguish of heart-wailing 
"Whither shall I fly? Where hide my misfits 
and miseries together ? For oh, spirit of Wam- 
pen, I am the most unfortunate cutter that 
ever scraped edge on pipeclay. Now, if thou 
hast saving virtue, let me into thy occult; 
speak the words of peace; talk to me and 
teach me, O Wampen ! Like a pitying angel 
spread thy wings over me, settle on my breast, 
and hatch warm comfort in my heart ere the 
old thirds and fourths, plus and minus disap- 
pointments and sorrow chill me to death." 
About fifteen years ago we tried to persuade 
the editor of a trade publication to straighten 
out America's confused tangle of names of the 
varied forms of coats. We based our argu- 
ments on the fact of America's using the Eng- 
lish language and also following up the Brit- 
ish fashions; they therefore should not make 
a laughing stock of themselves by the persist- 
ent use of wrong names. But no; true to 
their old mossback proclivity, they cling to 
their errors of trade nomenclature, as they do 
to their antique Mayflower plus and minus cut- 
ting systems. We, however, through the news- 
papers, started a crusade of ridicule anent the 
American habit of calling trousers pantaloons. 
Our efforts met with such, success, we have 
the satisfaction of knowing that today Ameri- 
cans never, or hardly ever, place an order 
for "pantaloons" when they mean trousers. 
The circus clown and burlesque costumer now 
do all the pantaloonery business. We pre- 



sume, however, that a new generation of 
American teachers of cutting and fashion re- 
port publishers will require to spring up 
before those scatter-brain errors of trade 
nomenclature are corrected, and we may here 
add we do not deem it necessary for our 
readers to agree with everything we say in 
order to be stimulated and benefited by our 
suggestions or opinions. If we but succeed 
in rousing a few of them sufficiently to do 
their own thinking we will be to a high degree 
satisfied that our work is not in vain. When 
a book of this order becomes a bible to its 
readers, we think it time to cast it away. 
Books, like men, die, and one of the tests of 
a book's death is that it no longer stimulates 
independent thought. In this sense we feel 
assured of our book being very much alive 
and kicking. We do not hope, and, if we 
know ourself correctly, we do not desire, com- 
piling a book that will be alike pleasing to all 
manner of cutters. When a book or a man 
is everything to all men, the book or man is 
but as a pre-empting lobster can to him who 

is A MAN. 



VESTS— HOW TO DRAFT. 

Seeing that we have some space to spare, 
we will throw in a little more than we prom- 
ised by giving the purchaser of our book an 
excellent vest system, the points of which are 
all arranged to be drafted by the Happle- 
Hutcheson 36-unit graduated tapes. The 
name of the author of the system is unknown 
and unknowable; nevertheless we from time 
to time have had our risibles strained by lis- 
tening to different men claiming it as a prod- 
uct of their inventive genius. 

Form construction lines O. K. and O. A. 
Mark across from O to A 3I, and down to B 
8i, across to C 6 and through C to D 9 and on 
to E 9J, up from C to F if, up from D to 
G 6|. Allowing 3 units for width of back 



70 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



neck, measure down to K with common inch 
measure full length of vest, with ii added 
for making up. Square across from K. Lo- 
cate waist line at I 8 below point D. Add on 
at point B to H f . At waist point P add on 
J inch. Form front edge P to I i inch more 
than half of the half waist measure. Mark 
up from square line to L, according to style 
or bottom vest form desired, 2.\ to 3, the more 
tapering form being the favorite with the best 
dressers, because the less slant we give, the 
more bulky does the waist appear. Form 
shoulder from A to G, hollowing slightly 
that it may be stretched to a straight line. 
Half an inch from G form scye through F to 
E, going \ inch below D and E. Form gorge 
line from A to closing point above top button, 
allowing 1 inch more than measure for mak- 
ing up, viz., \ for back neck seam, \ for 
shoulder seams ; the remaining half inch, a 
half of which is obtained by turning in top 
of back, is used up in distributing \ of ease 
across the total back neck width, the remain- 
ing § per side to be used up in "commanding" 
gorge seam. When putting in a silesia, Ital- 
ian silk, or satin back in vest, always see to 
it that your vest maker puts the backs in easy 
but not full. The back neck should be ma- 
nipulated as already advised. Each shoulder 
seam should have from \ to f, according to 
class of goods, evenly distributed from point 
to point. The side seam should also have the 
back put up easy to the extent of \ evenly 
distributed from top to bottom. We advise 
the application of a club to the head of those 
so-called vest makers who contract the upper 
scye from F up toward point G, a section that 
should always be strained out a little. This 
class of "artists," in place of making vest to 
cling to the figure, usually stretch the gorge 
and lower and bottom edge of vest. Of course 
every cutter who is a tailor knows the charm 
of correct manipulation of details, but the bri- 



gade of chancers in America that are doing 
cutters' duties so far outnumber the tailors 
we here feel the necessity of giving a few pri- 
mary school class pointers, which, if intelli- 
gently adopted, will result in a great saving 
of worry and busheling expenses. From A 
to If represents collar stand. When cutting 
D.-B. vest, add on at point B to H not more 
than half an inch in place of f as in S.-B. 
The line H. K. represents the lapel seam, same 
as in pea coat and D.-B. Chesterfield. In 
coats and vests alike this line should always 
have marking stitches as a guide to the proper 
placement of buttons from edge. The one 
marking being placed on top of the other 
settles "the how-far-back question," this being 
a much better way than the common Ameri- 
can method of taking chances on a guess. As 
the waist increases in size the front edge line 
at P is carried forward in the same ratio as 
we have already described in the scientific 
application of the degrees of chest and waist 
disproportion as applied to coat drafting. 



TO DRAFT THE BACK. 

Form construction lines O. K. and O. A. 
From O to A 3, up from A to B f , down from 
O to C 9, across from C to D 7, through D 
to E 9, and on to F 10, from D up to G 6f. 
Measure from A to L on breast as per broken 
line, and make O to K on back same length. 
Square across from K to locate bottom level 
of side seam, or, if you would rather have it, 
measure down from E to L on side of fore 
part, and adjust length of back from' point F 
to match side seam of breast. Form back 
seam from O through CH to K, curving out 
from O to C from \ to C / 1G from construction 
line intercepting point C, hollowing half an 
inch in at point H and out to construction line 
at K. From front edge at P through J and 
across back at H, locate side seam J at 2\ 



F E. 




PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



71 



more than half the waist measure. In D.-B. 
vests i j more than half the waist measure is 
all sufficient. Form top of back, shoulder 
seam, back scye, side seam, and bottom of 
back as per diagram. 



HIGH SHOULDERS AND SHORT 
NECKS. 

High shoulders and short necks, with few 
exceptions, are practically one and the same 
thing, and are provided for by making the 
distance O. B. on breast and O. C. on back 
shorter in accordance with the shoulder level 
measure. When the shoulder measure is ^, 
i, f, or I inch or more shorter than normal, 
make the points O. B. and O. C. just exactly 
that much shorter. Like when measuring for 
coat, if the shoulder level be taken correctly, 
and you intelligently follow our instructions, 

IT IS A SHEER IMPOSSIBILITY FOR THE COLLAR 
HEIGHT TO BE ANYTHING ELSE BUT CORRECT. 



THE LONG-NECKED AND SLOPING- 
SHOULDERED. 

As in the short-necked and square-shoul- 
dered, the long-necked and sloping-shouldered 
are practically, to the cutter, one and the same 
thing. There are a few, but very few, ex- 
ceptions, and the exceptions are just as easily 
provided for. When drafting for the sloping- 
shouldered and long-necked, we simply re- 
verse our method of procedure so as to be 
equal with the reversal of conditions. The 
shoulder-level measure being £, -|, f , or i inch 
longer than normal, we make the distance O. 
B. on breast and O. C. back longer by ^, £, f , 
or i inch, as the case may be ; and we repeat in 
the same forceful manner that it is a sheer 



IMPOSSIBILITY FOR THE COLLAR HEIGHT NOT 
TO BE CORRECT IF THE SHOULDER-LEVEL MEAS- 
URE BE TAKEN TRUE, AND APPLIED EXACTLY 

as we have advised, and so it is wkh Dr. 
Wampen's science of anthropometry through- 
out the eight "heads" or sections and sub- 
sections of the human body ; and ever bear in 
mind the simple fact that perfect measures are 
essential to the obtainment of perfect results. 
Voltaire tells us "Perfection is attained by 
slow degrees ; she requires the hand of time." 
Although absolute perfection in most arts, and 
in the application of most sciences, be unat- 
tainable, he who constantly aims at it, and 
perseveres, will come much nearer to it than 
those whose laziness or despondency prevents 
them from making the effort. Men are every 
hour of the day working up to and past the 
limits of all other systems of cutting, but no 
cutter has ever been able to> work up to and 
beyond the limits of Dr. Wampen's system. 
We know the limits of Dr. Wampen's science, 
just as learned astronomers, navigators, and 
explorers know the location of the south and 
north poles ; but reach them, will you ? Who 
can ? Mathematic science is equal to the work 
of squaring a circle; but tell us, will you, 
where is the mathematician that is equal to the 
science? Like mathematics, Dr. Wampen's 
anthropometrical sartorial art science is com- 
plete and therefore equal to the requirements 
of all the varied forms of manhood. But, 
like the mathematician and the squaring of the 
circle, where is the cutter that can work up to 
Wampen's limit of scientific perfection? 

We have so often been asked to furnish 
copy of our application for situation, and 
knowing as we do that "A little nonsense now 
and then is relished by the wisest men," we 
here reproduce it, with comments of the editor 
of a London monthly that copied it from one 
of the Ontario newspapers when it was going 
the rounds of the Canadian press. 



72"' 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



A TAILOR WITH A RECORD. 

In the year 1879, a merchant in Coburg, 
Canada, having advertised in the Toronto 
Globe for the best cutter in the Dominion, 
received the following characteristic applica- 
tion for the situation : 

Sir. — In reply to your advertisement for the 
best cutter in the Dominion, I humbly beg to 
say that my age, experience, and ability con- 
sidered, I feel safe in stating that I am a rare 
specimen of a meek-minded cutter, and in pre- 
senting myself as a candidate for the vacancy 
in your cutting department, which is presump- 
tively the highest office that the cutting world 
of this great Dominion of ours can offer to 
the applicant who can produce the best record. 
I here cast myself at the footstool of your 
sophomorical presence, feeling satisfied that 
your witenagemoteic wisdom will guide you 
in selecting the cutter whose record proves 
him to be the happy possessor of the highest 
artistic skill and unstained ability. Let me 
here unfold to you in epitome form my history 
as Tailor, and while you read I am anxious 
that you bear in mind that I am not as other 
cutters, viz., of egotistical turn of mind. At 
the time when the Roman Empire had reached 
the meridian of its greatness, when every na- 
tion accessible to its arms had yielded submis- 
sion to its power, when rival monarchs and 
contending chieftains had ceased their strife 
and the troubled elements of sanguinary wars, 
which had for ages convulsed the world, had 
sunk in repose, I had just completed my ap- 
prenticeship, and had the honor of being 
called upon to make a suit for Augustus Cae- 
sar. It was I who made the suit that St. 
Peter wore when he preached in the streets 
of Jerusalem, and by the tout ensemble of his 
appearance he so favorably impressed the mul- 
titude. In the first year of my apprenticeship 
I exhibited a peculiar talent for originality, I 



having designed and made the coat of many 
colors that was presented to Joseph. Its 
beautiful symmetry of form and its glittering 
elegance of hues, as you are no doubt already 
aware, caused much jealousy in the family of 
Jacob. The illustrious apostle, St. Patrick, 
was advised by His Holiness Pope Celestine 
to come to me and get his outfit, which I am 
glad to be able to state was completed to the 
entire satisfaction of His Holiness the Pope. 
Before St. Patrick crossed the Channel to lay 
down the principles on which the Land 
League base their claims, he sent off a special 
messenger for me to follow him ; so when 
Godfrey Bouillon captured Jerusalem in the 
year 1099, I went off on a tramp, and I did 
not settle down to business until I arrived in 
Scotland. After getting a colossal mud hut built 
on what is now known as the Argyle estate — 
"God bless the Duke!" — my reputation as a 
cutter soon became known, and I succeded in 
building up a large trade. Prominent among 
my clients were Robert Bruce, William Wal- 
lace, John Baliol and his son Ned, Richard 
Cromwell, General Monck, Bradshaw, Scott, 
Jones, the Prince of Orange, and the infamous 
Titus Oates. I made William Pitt's first 
communion costume. I made the uniform in 
which Lord Nelson won the famous naval vic- 
tories of the Nile and Trafalgar. I cut for 
Wellington, the immortal hero of Talavara, 
Salamanca, Vittoria, and Waterloo. To be 
brief, all the Popes of Rome since the days of 
Peter; all the distinguished rulers of the na- 
tion since the days of Titus, the Roman Em- 
peror; all the historians, poets, and scientists 
since the days of Herodotus, Homer, and Dio- 
nysius, have been pleased to humbly solicit 
specimens of my sartorial skill, in which they 
proudly adorned the tabernacle of their im- 
mortal soul. In speaking of my business con 
nection on this side of the Atlantic, I shall 
only state that on my arrival on this continent 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



73 



I was met by old Mr. Washington, who re- 
ceived and treated me with very great kind- 
ness, and the first job I got' was to make a 
cover for little George's axe. I continued, 
however, to work for the family ever since. 
I have made the inaugural suit for every 
President of the United States down to date, 
with the exception of Andrew Johnson, who 
insisted on me allowing him the usual trade 
discount, which I, on principle, refused to do. 
I have just completed a court costume for 
Lord Lome, and Sir John MacDonald has 
frankly acknowledged that the secret of his 
unprecedented success as a statesman, and 
Blake's success as an orator, lay in the artistic 
taste I display in adjusting the width and style 
of their trousers, the length of their sleeve, 
and the height of their coat collar. Lord 
Beaconsfield also held a very exalted appre- 
ciation of me as a tailor, because of the at- 
tention I devoted to these little details in dress 
which draw — to all external appearance — the 
line of demarcation between the Duke and the 
Basket-maker. For further particulars I 



refer you to your esteemed citizen, Mr. Dick- 
enson ; he knew me well when he was engaged 
in the discharge of his duties as organist to 
Hiram Abiff, who was boycotted at the build- 
ing of Solomon's Temple. Trusting that my 
varied experience and business connection 
may be considered sufficient to enable me to 
discharge the duties of the best situation in 
the Dominion, 

I am, dear sir, 
Anxiously awaiting the appointment, 

Jas. Happle-Hutcheson. 



Mr. Hutcheson is an old crony of ours. 
We know him to be a genius, and have every 
reason to believe that if the opportunities had 
presented themselves he would have accom- 
plished all he asserts in his ably written satire 
on a country merchant in a small Canadian 
town who had the presumption to advertise 
for the best cutter in the Dominion. 

Dr. Darwin Humphreys, M. A. 

Ed. Record of Fashion, London, Eng. 




74 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



Mapple-Hutcheson American Trouser System 

"We make no pretense whatever of being - the creator 
of a single idea as embraced in this most excellent trouser 
system, the designatory only being ours. The system 
is just a simple compilation of desultory, fragmentary, 
tailoric wisdom that has been caroling and juking around 
us for many years. We are merely the systematizer of 
what we claim to be an ever reliable, easily understood, 
all-embracing, scientifically adjusted, automatic principle 
of drafting and grading trousers for any and every size 
and form of boy, youth or man, showing how to pro- 
duce all the individual and specific requirements for the 
varied occupations, trades, professions, recreations and 
full-dress ceremonial functions. 

TROUSERS FOR THE MODEL FIGURE FORM. 

Diagram M shows how to produce a pair of good fitting 
trousers for business men of model figure form, 43^, 32, 
30, 36, IS, 16. Draw construction line O, X full side seam 
length (43^>) square across from X to J (iy 2 ) and from 
J to H (S), from X up to A, leg length (31), square 
from A to P one-half inch less than one-twelfth of seat 
measure (2y 2 ). Draw straight line from P to J. From 
A to P on construction line two inches less than half the 
leg length (14). From line PJ mark in to L (%), and 
from L through P to M half the knee width (9). Mark 
up from A to G 2 1 / £, and from A to U one-fourth of the 
seat measure minus one inch (8). At one and a half 
inches down from O locate waist line. Mark out from 
construction line to C V± and from U to T %, from O y 8 , 
and at G mark out to R %. Form front fly edge and 
crotch line from O, through C, T, R to P, and form leg 
seam from P through L to J. Take out from half an 
inch to five-eighths for dress; when more than five- 
eighths is taken out modest, self-respecting men are apt 
to complain of figure showing up too much. From C 
to H mark back one-fourth of an inch more than one- 
fourth of the waist measure (7%), and from front edge 
at R mark out to N one-half inch more than one- 
fourth of seat measure (-9%), and form side seam from 
H, through N, M, to H. Form bottom line according to 
style desired. See that all horizontal lines are squared 
true with the construction line. "We never hollow in 
from straight line P, J, more than % at L, and for every 
inch that the knee is larger than half the seat measure 
mark out from L %, which means that, when the leg 
measure at knee is two inches, or more than two inches 
larger than half the s-eat measure, we always form 
leg seam by drawing straight line P, J. It is aston- 
ishing the number of men that we meet, even in the 
highest latitudes of American tailordom, who never 
heard of the law or principle that governs the adjust- 
ment of trouser widths for the various sizes of men. 
B"ut this fact is not to be wondered at when we investi- 
gate and discover that men without any preparatory 
training start in as fashion reporters and "artistic" 
teachers of cutting, sans artistic knowledge, the teacher 
himself not knowing the meaning of that, which he copies 
from London publications, such as Minster's Gazette and 
Williamson's Tailor and Cutter. For a man who wears 
a No. 8 shoe make J to H eight inches, and for every 
size less or more make the distance J, H, one-quarter of 
an inch less or more. When it is reported that trousers 
will be 16 at the bottom for the coming season that does 
not mean that all trousers shall be 16. The tailor's model 
wears a No. S shoe, and it means that 16 will be thft 
fashion for that size. Eight added to the number of the 
shoe makes 16, and therefore S added to the number of 
any sized shoe will be correct for any customer. If the 
fashion report said, "Bottoms for the next season will 
be made 18," deduct 8 from IS and we have 10. Then ten 
inches more than the size of any shoe number produces 
the correct fashion width for any man, no matter how 
large or small his feet may be. The same rule applies 
to the adjustment of knee width, the standard seat size 
being 38. We read, "Trousers for the coming season will 
be 19 knee." That means that all trousers will be made 
half the seat measure at the knee. Or if the report 
says 20 knee or IS knee, it means that all trousers will 
he made one inch wider, or one inch narrower, at knee 
than half the seat measure. With a clear understanding 
of fundamental principles, a cutter will never stand 
scratching his head and wondering, or meet a customer's 
query with a vacant stare when asked, "What is the 
fashionable width for a man my size?" And seeing that 
this class of knowledge is so uncommonly known among 
American cutters, I may here give one more example 




PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



that may save the reader from delivering too long a coat 
to some short man, or too short a coat to some tall cus- 
tomer. Five feet eight inches being the fashion reporters' 
standard of height, all fashion lengths are adjusted to the 
5-foot 8-inch standard, and, therefore, when the report 
tells us that this or that style of coat will be 32 inches' 
Jong, we figure it out as follows: 5 feet 8 inches is 
6S inches; the half of 68 is 34, and 32 is the fashion- 
able length of coat. Therefore, two inches, or units, 
less than half the total height of customer is the cor- 
rect fashionable length for any man, no matter how short 
or how tall the man may be. Suppose a dress coat or 
a top coat is reported 40 inches long, we know that is 
for a 5-foot 8-inch height, 68 inches, the half of which 
is 34, the fashionable length of coat being 40, which 
is 6 inches more than half the total height, and therefore 
all coats of that form shall be made six inches longer 
than half the height of customer. No matter how short 
or how tall the customer may be that is the approximate 
length. Our unit scale produces the exact amount. What 
the American cutter needs, and needs badly, is a system 
that will give him less guesswork and more scientific 
knowledge. But how can they hope to procure desirable 
knowledge when they passively submit to the leadership 
of an old horse-street-car conductor and his henchmen 
of "large and varied experience," who served their ap- 
prenticeship as a man before the mast, a man behind 
the bar and back of the dry goods counter, as a man at 
the barber's chair and the man' at the horse collar maker's 
bench, all of whom teach cutting under the supervision 
of a man whose strongest claim to tailoric knowledge, 
as far as we can see, lies in the happy fact of his being 
a son of a decent and highly respected old tailor, and 
who has the faculty of writing flippant American hum- 
buggery, telling his unsophisticated victims that "cutters 
are born, not made." May the Lord in some moment of 
tenderness forgive this New York aggregation of huge 
humbuggery, 

HOW TO DRAFT THE BACK PART. 

Place forepart in position and adjust bottom width, 
adding from one to one and a quarter inches for seams 
and dividing the extra width of back part equally at leg 
and side seam. From P through U W draw seat angle 
line. Square out from A through P to E, locating E at 
one-eighteenth of seat out from P (2). Form seat and 
back crotch line from W through U, V and S, hollowing 
seat line at V three-eighths to one-half inch, and down 
to S one-half inch below E. Adjust seat measure as 
shown by inch measure, allowing two inches more than 
half the seat measure. And just here and now is the 
proper place and time for Mr. Reasonwhy to put the 
query, «"Does it take four inches more than the seat 
measure to make up a pair of trousers?" To which we 
answer, "No; it requires from two to two and a half, 
and the balance is held in reserve for muscle expansion." 
The reader should now take a tape and investigate for 
himself. When in a standing position place tape around 
seat, close but not tight. Note the size, 36 or whatever 
it may be. While holding the inch tape in position and 
in such a manner that extra pressure will cause it to 
slip, throw between the fingers, sit down on chair and 
note the size of seat measure, and you will find the 
muscle expansion increase to be more than one and one- 
half inches, but with chic dressers, who prefer clean- 
fitting trousers around the seat when in an upright 
position, we rely largely on the elasticity of the goods, 
also the pressure of the goods against the soft and com- 
pressible fatty matter around the sides and abdomen, 
to do the rest. You will now adjust waist width by 
measuring across waist line C to H on front and back 
part, making point M two inches more than half the 
waist measure. Around the waist there is not so much 
muscle expansion as around the seat, but it nevertheless" 
requires two inches more than half the waist measure. 
There is a half-inch fish, with seams, to come out of 
back waist to be considered, and it must also be remem- 
bered that the pockets, canvas, waist lining, etc., re- 
move all the elasticity from the goods around that sec- 
tion of the figure. From top edge of forepart at O 
mark up to W 2Y 2 and form top edge of back part, 
and mark out fish as shown at D. Make knee one to 
one and one-quarter more than measure, dividing the 
extra inch about equal at R R. Also adjust bottom 
width to measure, allowing one to one and one-quarter 
for making up, and distribute the extra width of back 
part 'equally at Y and Z. Men who cut by center-line 
systems, dividing bottom equally on each side are ever 
and anon being troubled with what is to them "unavoid- 




76 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



able defects," which they cannot account for. Much of their 
trouble is the result of the ever-changing condition of 
openness and closeness of legs, causing diagonal drag- 
gings and horseshoe folds, the man with the small shoe 
always getting a more open form of trouser than the man 
with the large foot, while it very frequently happens 
that just the reverse condition is required. These short- 
sighted, antique, chaotic, divisional methods' may be all 
right for stereotypic, ready-made clothing or the cheapest 
class of mail-order trade, but for the regular trade or 
the better class of mail-order trade they are not well 
adapted to the varied requirements, every abnormality 
having to be adjusted, not by the system, mark ye, but 
by guesswork, a la New York horse-street-car conductors'' 
car barn sartorial art clubs' style of brain straining, 
vague, doubting uncertainty. Having adjusted bottom 
width, all that now remains to be done is to form side 
seam from M through T and R to Z, and leg seam 
from S through R to Y, adding three-eighths at S and 
S to furnish receptacle for the calves'. If this is not 
done the back leg will press against the flat surface of 
the goods, causing folds to form down leg and side seams, 
both above and below the rounding of the calf, and the 
more erect the figure the more conspicuous will the 
defect be. Form bottom line from Z to Y and your draft 
for a model-formed business man's trousers is complete. 
Make your mind, your eye and your "chalk hand" thor- 
oughly familiar with all the details as here given before 
you take up diagram A. In having trousers made up 
see to it that all throughout the hollow part of back 
crotch SV, is thoroughly stretched and that the round- 
mgs, S and S, are shrunk into a straight line and 
pressed back toward center of back part. Also see to 
it that line P R on forepart is neither stretched nor 
shrunk, but held exactly as cut. 

DIAGRAM A. 

The prime purpose of diagram A is to show how to 
produce a pair of riding trousers that will be clean fitting 
and comfortable when in the saddle, absolutely free from 
pressure on the knee and front thigh, so much so that 
the trousers will not creep up off the shoe, although 
there are no bottom straps used. In demonstrating this 
principle we also show how the degrees of waist dis- 
proportion are worked out by the system, perfectly inde- 
pendent of the cutter's guessing ability or "superior judg- 
ment.'; And for the purpose of making lesson A. still 
more interestingly instructive, we make the draft show- 
ing the genuine old-fashioned spring bottoms. Draw 
construction line same as for model form and draft as 
per measure, 43%, 31, 32, 36, 17, 21. Trousers in which 
a man may ride horseback without the bottoms creeping 
up off the shoe are produced by the simple process of 
giving the legs more stride angle, commonly spoken of 
as 'a more open cut," and also greater seat angle with 
more room for the expansion of the muscles gluteus 
medius and gluteus maximus, the muscles that act 
alternately on the thigh and pelvis, drawing the thigh 
backward and turning the whole leg outward when kept 
extended, as in the saddle. After marking up total sidj 
seam length, X, O, and locating points A, G, U and L 
square out A, P, and locate J two inches in from X 
in place of one and one-half inches out as in the business 
trousers, and locate point H at eight inches from J, same 
as in business trousers; then draw straight line P J, 
mark in to L % and from L across to side, M half 
the knee width (Sy 2 ). The waist being 32, it is two 
inches in on the first degree of disproportion. One-fourth 
of this increase is placed in front of construction line 
C % and T %. R is always placed at five-eighths 
in front of construction line. JSTow form front fly 
edge, and fork line from three-eighths in front of 
O, through C. T and R, to P. Make C, H one-quarter 
inch more than one-fourth of waist measure and R N 
three-quarters of an inch more than one-fourth of seat 
measure. Complete by forming outlines as per diagram 
making forepart lower at O as per dotted line. Many 
horsemen have riding trousers cut down to C waist line. 
To draft back part, square out from A through P to B 
and locate seat angle point one inch below U. Among 
cutters who are holding down jobs in first-class trades 
even a marvelous amount of Ignorance prevails anent 
the special needs of the well-posted and chic eques- 
trian dresser who always wears his trousers well up but 
not uncomfortably close to the fork, and, therefore, the 
fork line should be cleaned out a trifle more even than 
the business trouser, but just the reverse is the com- 
mon practice of many cutters who, judged by the posi- 



tions they happen to fill, should know much better than 
to put an overall form of crotch in a gentleman's riding 
trouser. B'ut in the New York old horse-street-car con- 
ductors' ear barn sartorial art club they sing, "All Trou- 
sers Look Alike to Me." To draft the back part place 
forepart in position and proceed in same routine as in 
drafting the business trousers, but in place of dropping 
point of crotch E below point S, raise it up above B 
half an inch, and in cotton corduroys and such unelastic 
goods a quarter or three-eighths more than that. Locate 
seat angle line at one to one and a half inches below U 
on construction line, and just in degree as we drop seat 
angle line below U, we must add that much more on to 
height at brace button point on back part, because the 
extra amount of seat angle length drops down on a 
level with line R, G and forms a fold from nothing at B 
on the side seam, but an inch to an inch and a half 
in size at center seam, and, contrary to the assertion 
of many teachers, it will not cause horseshoe folds to 
form on the lower back thigh. The horseshoe folds are 
the result of very different balance defects. A cor- 
rectly constructed trouser system will always land the 
goods just where it is wanted; it will not distribute 
the surplus material all over the surrounding territory, 
forming unsightly folds and corkscrew twist draggings. 
When the seat angle is increased to give desired ease 
in stooping, lifting, sitting, riding, etc., the increase will 
form in a fold, forming a perfect horizontal line on a 
level with the cushions of the seat, and there, and there 
only, will it remain in reserve for use when wanted to 
climb a hill or a step-ladder, jump a hurdle, ride a 
horse or perform any sort of strenuous duty or recreative 
exercise. ' The angle settings of diagram A are adjusted 
to meet the requirements of an average-sized mount, as 
seen in our parks and on our bridle paths, viz.; 15 hands, 
9E0 pounds. But for a 16-hand charger, 1,100 pounds, 
as seen in a cross-country fox hunt mount, we place the 
seat angle at 1% below U and locate J at 2% in from 
X. If sufficient stride be not provided for the size of 
the mount the rider will have a multitude of dragging 
folds along his inside leg seam down to the knee. He 
v/ill also have them on the side seam from hip to 
knee; but with the correct stride and proper adjust- 
ments of other seat, crotch and abdominal points, the 
trousers will not show diagonal folds when in the saddle. 
The surplus thigh and seat width will form a straight 
fold down the leg and side seam to the knee, and then, 
to the sensitive, artistic eye of him who has artistic 
knowledge, the result is admirable. Finish draft by form- 
ing seat seam, leg seam, side seam and bottom as 
shown in diagram. Distribute fullness at top of leg 
seam evenly from top down to a point four and one-half 
to five inches from P. Stretch thoroughly from U to 
S all that the goods will stand, but in this case do 
not shrink upper back thigh, and cut the trousers two 
inches longer than leg measure. In drafting trousers 
for the average laborer, locate bottom of leg seam J at 
X and seat angle at one inch below U, with point S 
even with point B, and do not shrink back thigh. If the 
trousers are worn without braces and hanging down from 
the crotch, hollow front fork very little, a la overall 
style of crotch. With trousers drafted along these lines, 
in accordance with the degree of ease required for the 
varied occupations, healthful or pleasurable recreations, 
the wearer will feel as unhampered in movement and 
as comfortably free in action as he would in a Scotch 
kilt. 

DIAGRAM R. 

Diagram R is for the purpose of showing how to pro- 
duce a pair of dress trousers absolutely destitute of 
either break, crease or fold from waist top to bottom, 
or in or around the crotch, and also to show how to 
keep in exact line with nature's increasing development 
of waist disproportion, 43%, 31, 34, 36, 20, 16. Draw 
construction line, square off total side seam length, O, X, 
and locate A, G, U, P, and L, P, M, seeing that these trou- 
sers are to hang perfectly plumb, so that, when standing, 
the leg will not press against goods at any point. We 
locate point J at same distance out from construction line 
as point P (2%) and draw straight line from P to J. 
These trousers being two inches wider at knee than 
half the seat measure, the leg seam is not hollowed at 
knee point, L. Make L to M ten inches and J to H 
eight inches. We have here a waist measure for a man 
who has reached the limit of the first degree of waist 
disproportion, which is four inches, or two inches or 
units less than the seat measure, and, therefore, we add 
on one-quarter of the increase at front of construction 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



77 



line point, C, which is 1V 2 down from O. For every inch 
of waist disproportion — which, in this case, is one inch — ■ 
we therefore mark out from construction line to C 1"%, 
and from construction line to T 1%, and R % oat from 
construction line. Form front fly edge through C, T and 
R to P, from R to N one-half inch more than one- 
fourth of the seat measure, and from C to H one-quarter 
inch more than one-fourth of waist measure; and just 
as much as we have gone out at C more than for the 
model form, we mark up above O and run it to nothing 
at side seam. In this case the amount is one inch. Form 
side seam and bottom line, and complete forepart draft 
by marking off dress line. We may here parenthetically 
state that recently we had our attention drawn to a far- 
fetched, puerile, argumentative effusion that appeared 
in a New York publication of September, 1905, the writer 
of which, while poised on the giddy heights of his self- 
erected platform of egoism and looking down on the 
multitude so far beneath him in technical lore, gravely 
tells us how the dress should "not be taken out" of 
a pair of trousers, but should "always be put on," and 
how we must first cut or draft the forepart for the snuill 
side and then annex dress quantity to the dress side, 
otherwise we will experience a great deal of trouble in 
giving satisfaction to our customers. Where, on God's 
earth, outside of Gotham's old horse-street-car conductors' 
car barn sartorial art club, can such mirifical asininity 
be found? This horse-street-car conductor's car barn 
sartorial art club takes many ungraceful curves in its 
abortive tailoric logic. How long, tell us, O Lord! how 
long will members of the Merchant Tailors' Association 
supinely follow the lead of New York's pawky old horsc- 
street-ca.r conductor, to whom, it is said, the nomadic 
actors' union and ready-made clothing manufacturers' 
association pays a very large subsidy in return for 
publishing fake fashion plates showing the creases of 
trunk-packed clothes and shelf-packed hand-me-downs, 
all of which are from season to season written up and 
accepted by the gullible fad-hunting American people 
as being the chic mode, because they see it on the 
"fashion" plates and "the actors are all wearing creases?" 
Yes, because of the prearranged contract made for the 
specific purpose of fooling a fad-loving, inartistic com- 
munity and saving the members of the actors' union 
a large aggregate of clothes pressing expense as disbursed 
at every town they "take in" in their itinerary, the fake 
fashion reporter making it easy for the cheap, sweat-shop 
trade to divert the slack of machine-stretched edges, 
"lash" seams and the surplus misfit spring by gathering 
it up and holding it under the control of hard-pressed 
crease lines, making those otherwise unsalable abortions 
pass as a la mode legal tender. To our mind the most 
astounding feature in connection with this heinous fake 
sweat-shop fashion fad is the readiness with which mem- 
bers of the Merchant Tailors' Association religiously emu- 
late these atrocious outrages on sartorial art, playing 
right into the hand of cheap competitors, and then we 
find them whiningly bemoaning their inability to meet 
disbursements because of cheap trade competition, an 
affliction which every fine-trade tailor richly merits when 
he is silly enough to encourage his patrons to mas- 
querade in such grotesque specimens of a bogus sar- 
torial artist. Where, in the name of God! where has 
the tailor's professional pride gone to? Our modern fine- 
trade tailors seem utterly destitute of it. But then what 
percentage of them ever learned the trade? A little 
statistology along this line would make highly interesting 
reading and would show to some extent the reason why 
the merchants' association is docilely led by the nose by 
sham tailor humbugs. 

TO DRAFT THE BACK PART. 

Place forepart in position and proceed in the same 
routine order as advised in drafting business trousers, 
but in this case locate seat angle point at one inch above 
point U and place point S at three-quarters to one inch 
below square line, E, and stretch S up until it is from 
three-eighths to half an inch too long for point P," and 
sew on easy for about five inches down from top of leg 
seam. , If the goods are not stretched up so as to sew 
on easily, the heat of the thigh will cause the stretched 
back part to shrink, and then the forepart will wrinkle 
at top from P down. The back crotch must be stretched 
all that the goods can stand, and the back thigh shrunk 
thoroughly to clean up all the surplus goods on back part 
below the cushions of seat. See to it that the crotch 
of forepart is never stretched the least iota; neither shall 
it be drawn in. Many teachers misinstruct their pupils, 
telling them that it is not necessary to form a calf on 




78 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



the leg of wide trousers, and we regret to be able to 
say that there are many shallow-pated teachers outside 
of the New York horse-street-car conductors' car barn 
sartorial club even who are promulgators of this shallow 
theory. The calves of the normal erect figure reach 
further back than does the most prominent point of the 
seat. Take a trouser length of goods, wrap it around 
your waist, adjust it to hang smoothly around the seat, 
stand erectly, and the calves of the leg will strike against 
the fiat surface of the goods, pushing it away back 
from the heel. Draw the goods forward until it touches 
the heel as it does when the forepart holds the back 
part in position, then note the multitude of diagonal 
folds that are formed along leg and side seams, as will 
be explained elsewhere, and all because no provision was 
made to receive the calf. Of course, we have spingle- 
legged sans calves in plenty, and, therefore, no matter 
how close fitting their trousers may be, they will lit 
all the better for being cut on straight lines along side 
and leg seams of back part. A defect that is common to 
many otherwise good trousers systems is too short an 
angle length through from navel point to prominent point 
of calf, causing those much-dreaded horseshoe formation 
folds, 

The worries of which the cutter's mind unquiet keep, 
While their grinning ghosts in horseshoe visions lord it 
o'er his sleep. 
Having now filled our promise to show how to produce 
a pair of trousers absolutely destitute of crease, break or |(j^ 
fold when wearer is standing with heels one and one- 
half inches apart, we now caution the inexperienced 
against doing it. simply because he knows how, for, 
although a superchic shop walker or dude barber may 
be highly elated on discovering a tailor who can and will 
produce such trousers when wanted, gentlemen-like 
dressers, who know enough not to have their trousers 
disfigured with ready-made shelf-worn creases, will not 
patronize a tailor who would recommend and practice 
the delivery of such severely "good-fitting" garments. 
Nevertheless, every man should thoroughly understand 
the fundamental principle of the science he professes to 
practice, and the tailor who has followed us with calm, 
intelligent, critical deliberation, should experience no 
trouble whatever in producing the exact style of trouser 
for any extreme of full dress exactitude or degree of 
negligee comfort, as desired by the most exacting of 
fastidious customers; nor will the cutter who under- 
stands his business ever feel a tinge of blushing embar- 
rassment when customer insists on having some specific 
feature produced, because he will be in a position to 
clearly, intelligently, forcefully and courteously explain 
to the customer what features of fit or comfort must 
or may be required to be sacrificed in order to procure 
the complete obtainment of whatever specific condition 
the customer may, in his sartorial art innocence, be in- 
consistently ordering, but when he is diplomatically lured 
by the cutter's clearly logical explanation, the customer 
will thankfully agree to the adoption of a middle course 
and go away happy in the thought of his tailor having 
such a thorough knowledge of cause and effect. It should 
now be clear to the mind of the most obtuse tailor that 
the man who would mount a horse when wearing a pair 
of dress trousers would have to draw them up oft! the 
shoes nine inches so as to avoid pressure on the knee, 
and even then he would have to sit in the saddle 
rather gingerly to save his trousers from bursting across 
the seat. 

DIAGRAM C. 

The chief purpose of diagram C, is to show the not 
commonly known, and but rather vaguely understood 
fundamental principle of producing bow-legged trousers 
as clean fitting and comfortable for business, riding or 
dress purposes as for the model figure form, no matter 
how bow-legged the man may be. Draw construction 
line, making O, X the net side seam length, 43 1£ 32 36 
36, 18, 16%, bow 5. Locate points A, P-, G, U, L, J 'and 
H. Since it is a fact that bow-legged men, when stand- 
ing or walking, place their feet in the same position as 
that of the model figure formed man, we, therefore, to 
produce the same results on the bow-legged customer 
for business, riding or dress purposes, find it absolutely 
necessary to locate point J at same distance from X 
as for the model figure. The knee being the point that 
is swung away from the plumb line, we must follow it 
to whatever extent it may be away from the model 
or standard plumb line form. To be able to successfully 
drape all of the five hundred varied forms of men that 
we, as tailors, are from hour to hour subject to be called 
on to becomingly costume, it is absolutely necessary for 




PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



79 




the cutter to have a clear knowledge of the fundamental 
principles of an all-embracing perfect system, to which 
he may with confidence turn and follow nature's lines 
without being alarmed at the sight of any of the freakish 
forms that nature furnishes. Hence our compilation of 
this much-needed, all-embracing perfect principle as here 
incorporated in our highly popular American Trouser 
System. This customer, we find by direct measurement, 
has knees that are five inches apart when standing or 
walking, which means that each leg is bowed to the 
extent of two and one-half inches. "The premises' ob- 
served, thy necessities by my performance shall be 
served!" We, therefore, locate J, at lYz from X, as for 
model-form business trouser requirements; draw straight 
line P, J; mark in at L %, and from the % point L, 
mark in through and past P, 2Vz inches, that be- 
ing the distance that the leg is bent away from the 
model plumb line, and from that point mark out and 
locate point E at half the knee width (nine inches) and 
point H at eight inches from J. The waist being same 
size as seat, it is two inches in on the second degree 
of waist disproportion, or six inches more than model 
form, which means that we locate C at a point one and 
a half inches further out from construction line than 
for model form (1%), and point T at 1%, with R at % 
In front of construction line. Adjust seat and waist 
width to measure and finish outlines as per diagram, 
making top waist same distance above O as front edge Is 
out from O. Now complete pattern by following up 
the same routine as in model figure form. It should 
now be clear to the reader that the side seam at knee 
being pitched out of plumb to the same extent as the 
knee is from the model plumb line, there can be no 
strain on the goods at that point to cause diagonal 
draggings from crotch to knee joint, and again from 
knee to bottom, as produced by the split knee wedge in- 
serting principle which always gives that reversible, 
double corkscrew, centrifugal-like motion to the legs, 
leaving us in doubt as to whether the gentleman is com- 
ing or going. The calves of bow-legged men often bulge 
toward the side seam. In that case put less rounding 
on at S on leg seam of back part, and more on the 
side seam, and when the bow-legged customer will con- 
sent to wearing his trousers wider than the fashion, 
place the extra width on at inside knee and in that 
way fill in the curve, making the leg appear less crooked. 
In cutting trousers for bow-legged men many lament- 
ably shallow and amusingly ridiculous subterfuge devices 
are resorted to by men even who pass current as high- 
class cutters. One of the most inconsistent and logically 
contradictory to the dictates of common sense is that 
superficial and bewilderingly delusive wedge theory al- 
ready referred to and commonly accepted by the unthink- 
ing and gullible who are ever ready to seize mislead- 
ing hypothetical methods if they just happen to be in- 
troduced by some plausible, soft-voiced wheedler. In this 
knee-wedge process of transmutation the cutter has un- 
doubtedly produced a crooked-legged trouser, but in no 
way in conformity with the actual requirements of the 
customer the trousers are intended for, because the 
original pattern is presumably correct for the normal 
form, and from the knee up there has been no change 
whatever made in the relative position, form or balance of 
knee point with that of the upper leg and trunk. All 
that Mr. Sciolist has succeeded in doing is the pro- 
ducing of a pair of trousers for a man of normal form 
down to the knee level and whose legs lap over each 
other from the knees down. Now, gentle reader, if you 
are a disciple of the New York horse-street-car con- 
ductors' car barn sartorial art club, do not get mad 
and sling vile Bowery rhetoric at us because of our not 
having approached you with the soft, velvet step and 
sweet purr of the sleek-coated feline when telling you 
a few severely humiliating facts. Sit down with your- 
self, take your own bearings and soundings, then split 
fair and tell yourself how quickly the lead struck the 
shallow, sandy bottom of your New- York-acquired self- 
satisfied technical knowledge. 

DIAGRAM H. 

With diagram H we close our five-diagram series of 
trouser-cutting lessons, by showing how to produce trou- 
sers for any degree of knock-kneed men. Locate con- 
struction line, making O. X, net total side seam length, 
43%, 31, 38, 36, IS, WV 2 (knock-knee 5), and proceed 
to locate all the upper points, A, P, G, U, C, T and N H, 
according to measure as for business man with model- 
formed legs. Also locate square line L, P, M and J, H 



80 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



same as for model-formed business man's trousers. Draw 
straight line P, J and locate point L at three-quarters 
of an inch in from straight line. Now, when this man is 
walking, his knees have a swivel-like, wabbling, lap-over 
movement. t» The footprints, however, that he leaves be- 
hind him are on the same straight line as those of the 
model figure, his 1 heels passing each other without inter- 
fering, and, therefore, points A, P and J, H retain the 
same balance plumb line relation to the trunk as in 
the model form. The knees, however, lap over each other 
to the extent of five inches more than do the knees 
of the model form, because each knee is bent inward 
to the extent of two and one-half inches, and it neces- 
sarily follows that, in order to procure the same satis- 
factory results' as we do in producing business or any 
other form of trousers, for this gentleman as for the 
model form, we must follow the lines of his 1 figure as 
we do those of model figure forms, and, therefore, we 
mark out from the % point L, placing leg seam 
knee point at 2% out from L, and draw straight line 
from P to this 2y 2 point and thence to point J, and 
in beveling leg seam at knee to fit the leg, do not 
pare down the sharp angle point; bevel it by rounding 
leg seam line out a trifle above and below the knee. Ad- 
just knee width and complete draft to conform with 
measure. It should now be clear to the reader that 
all the vital points of balance must be conserved the 
same as for model form. When producing business, rid- 
ing or dress trousers for this man the same sartorial- 
art trigonometrical law must be applied to his case as to 
that of the bow-legged gentleman. When measuring the 
knock-kneed customer have him stand with legs from 
fork to knees touching. The heels will then be forced 
away from each other, in this case to the extent of seven 
inches, two of which we deduct for the normal heel 
spread, which gives us five inches, or two and a half 
inches of an inward knee bend on each leg. Having 
followed the inward bend of knee as far as it veers 
away from the plumb line of the model form, we infal- 
libly produce the same satisfactory results as we do 
for the regular model figure form, because we have 
avoided all risk of allowing the knee to press against 
the goods, thus causing unsightly, diagonal, dragging 
folds of distortion to day and night harass our minds 
and vex our customers. Before closing let us make a 
more complete analysis of this ill-understood subject. 
Put the bow-legged trousers on the knock-kneed man, 
and the knock-kneed trousers on the bow-legged one, 
and have them step lively around the room and con- 
template the effect of such a fantastical sartorial-art 
bewilderment. But don't laugh; drop a tear, rather, be- 
cause these are exactly the effects you were producing 
in a less degree when you were performing the wedge 
act in producing bow-legged trousers. Now let us take 
the bow-legged man while he stands in the knock-kneed 
trousers and note what a tremendous strain there is 
on the goods at the outside knee, forcing the formation 
of great diagonal folds from crotch across front and 
back thigh and from the knee down across front and 
back leg to the inner ankle joint. Take a knife and 
rip side seam from crotch level down to one-quarter 
of an inch from bottom, and the trouser leg at once 
asserts its knock-kneed clean-hanging form/ leaving 
the bow-legged knee bare to the extent of five inches 
in from side seam point. Then take the knock-kneed 
chap while he stands in the bow-legged trousers, the 
diagonal folds running, in this case, in the opposite 
direction to that of the other man's; rip these trousers 
from the crotch point down to one-quarter of an inch 
from bottom, and, presto, the trouser leg swings out 
to the bow-legged form, hanging perfectly smooth and 
exposing the naked knee to the extent of five inches 
from the inside leg seam. In conclusion let us say: 
Any coat, vest or trouser system that is constructed 
on scientifically correct principles will always bear the 
test of being worked out indefinitely to meet any super- 
normal condition, either simple or complex, that may 
appear in any section of the human figure, and the 
validity of the science will not be affected or weak- 
ened by either bulk, form, distance or extent. We do 
claim that our coat, vest and trouser systems are 
logically, fundamentally, scientifically and practically 
correct, easy to learn and simple to practise. If any- 
one can and will show us that our system is miscon- 
strued, and how or where it is so, or that our theories 
are illogical or weak, he will confer a lasting and highly 
esteemed favor on the author of the Happle-Hutcheson 
American Trouser System and compiler of the Ameri- 
canized system. 



CUTTING SCHOOL MEN 
DRIVEN TO THEIR WIT'S END 



In February, 1903, when we published our Self-Instruct- 
ing Americanized Wampen System of drafting and grading 
we had, not the remotest suspicion that a knowledge of 
how to take and apply the shoulder level measure was not 
the rule among American teachers of cutting. We in fact 
were astounded on discovering that the most successful 




S f „„ A f ron , high-class teachers of sartorial art" are still 
floundering along, suolimely ignorant of the existence of 
this most important principle of correctly determining the 

f^ J m °^ n \ t ? t , B °, 0ds rec l uire <l t° be deducted from the 
total scye depth level, so as to accurately meet the individual 
requirements of every degree of long and short necks as 
wi i aS „ extrem , el y ni f h or excessively sloping shoulders. 
While aware of the fact of Dr. Wampen's system being 
the only one by which these depth levels can be handled 
with absolute simple scientific accuracy, we also know that 
other European system makers have made some provision 
for the shoulder level principle; and, as B. Henry Yonkers 
correctly says, "Cutters who use these systems, by a process 
of experimental guessing and juggling maneuvers, in course 
of time manage to come well up in line with the Wampen 
standard of coat balance accuracy." The rapid sale of our 
book as designed for self-instruction, combined with a 
knowledge of the fact of Wampen's system being constructed 
on the impregnable rock of simple scientific truth has pro- 
duced a spirit-depressing panic among our fancy-price tui- 
tion-fee-charging proprietors of cutting schools and their non- 
progressive staffs who still continue teaching the old moss- 
back divisional methods of colonial davs. These non- 
progressionists are now driven to their wit's end in their 
endeavors to find some means of counteracting this Ameri- 
canized Wampen revolutionary movement, which is plaving 
such havoc with the patronage of their schools, causing their 
dismayed owners to totterir.gly pause on the vawning brink 
of black despair, where they are now making distressingly 
marvelous displays of their technical ignorance For ex- 
ample, immediately after we published our Americanized 
Wampen System, John J. Mitchell, driven seemingly by the 
delirium of fear or passion, rushed into print to' gravely 
tell the readers of his Tailor and Cutter that tailors have 
been discussing the proper location of the shoulder point 
for the last seventy-five years; and, declares Mr. Mitchell 
there is no such thing as a shoulder point in coat cutting " 
Poor Mitchell! Had this technical ignoramus teacher of 
tailoring to American tailors, and J. O. M., whose clear title 
of supreme past master of American sartorial art bluff no 
one disputes, united with the whole Mitchell staff in declar- 
ing that there is no such thing as a shoulder point in coat 
cutting that they know of, we could well afford to believe 
this self-styled "staff of extended technical knowledge large 



PROGRESSIVE ANTHROPOMETRICAL SARTORIAL ART SCIENCE. 



and sound experience and common sense," whose glaring 
technical ignorance, cool impudence and unwinking aplomb 
appeals to our sense of humor, for it is impossible for us not 
to admire ignorant cheek so brazenly perfect. A proper 
conception, however, of the dignity of our manhood prevents 
us from being content to be amused by the flinging of such 
empty-headed blatant buncombe in the face of the intelli- 
gence of American tailorhood, coming, as it does, from a 
cluster of New York "sartorial art teachers," God save 
the mark! who spent the days of their youth, not in the 
tailor's shop, mark ye, but we have no taste for nor desire 
to stoop to recriminations with cutting school men of shady 
repute. Of course New York has long been afflicted with a 
growth of sartorial art fungus, composed chiefly of ad- 
venturers who were away past their adolescences before 
they quit driving delivery wagons, running elevators, doing 
dry goods store porter work, tin roofing, street car ticket 
punching, bartending and peanut vending. Cheer up, Mr. 
Mitchell, we assure you, you and your self-assertive staff 
"of wide and varied experience" has our deep sympathy. 
We always feel sorry for men who know less than we do, and 
who have not sense enough to keep their mouths closed. If 
J. O. M. has ar.y desire to become reminiscent, we will be 
able to entertain him while we write a rather interesting 
dialogue, giving a pen picture of the sad experience of a 
well-known New York teacher of cutting, WHO TRIED TO 
BE A CUTTER ,-3nd whose tongue it would be an easy 
matter for J. O. M. to bite. We have rich reminiscence 




of rather spicy material carrying our subject away around 
and down into Peterborough, Canada, even, the subject 
being illuminated with numerous exciting "FIRING!" 
scenes and ignominious flights from the ever-present ghostly 
apparitions of his maimed and slaughtered sartorial art 
products. But for the present we will respectfully ask Mr. 
Mitchell to read the following poetical sentiment; it may 
be of some future service: 
"Make sure yourself and your own reach to know, 

How far your genius taste and learning go; 

Launch not beyond your depth, but be discrete, 

And mark well that Wampen shoulder-point, where sense 

I and dullness meet." 

And now, Mr. Mitchell, we will proceed to explain that 
which is to you and your staff of innocents the hidden 
mysteries of the shoulder-point in coat cutting, and which 
for more than half a hundred years has been common 
knowledge to men whom you, in your pipe dreams, derisively 
refer to as "for-eig-ners." We shall begin, Mr. Mitchell, 
by asking you and your self-satisfied, no shoulder-point 
theory teaching staff of technically ignorant sartorial art 
visionaries, to note cut of section of human skeleton, on 
the acromin, or shoulder-point, of which rests base of 
vertical line, while end of horizontal line designates the 
base of fifth cervical vertebra or nape of the neck, the 
point from which the tailor starts to measure customer. 
Just in degree as these two levels are near to, or distant 
from each other, the correct amount of goods to reach up 
from shoulder-point level to height of neck desired, is deter- 
mined by the shoulder-point level measure which is secured 
in tjae simple manner as shown on accompanling cut, show- 
ing measuring square with two brass legs, one of which 
is sliding, in position ready for pointing off on back seam 



of vest shoulder-point level depth, scye level depth and 
natural waist level distance, while the shoulder section of 
coat draft shows the angular shoulder-point lines as used 
by the Wampenite cutter in unerringly producing the exact 
amount of goods required to reach up from shoulder-point 
level E. to any height of neck, meeting exactly the indi- 
vidual requirements of any figure form, no matter how high- 
shouldered and short-necked, or how sloping-shouldered and 
long-necked the customer may be. We sincerely trust, Mr. 
Mitchell, that you and your staff may now be able to 
understand that there is a shoulder-point in coat cutting, 




and a most vital point at that, the proper location of which 
was made a very simple matter when Dr. Wampen gave 
to tailors his sartorial art application of anthropometric 
science. In conclusion let us give expression of our most 
profound regret as occasioned by Mr. Mitchell's lack of 
respect for us, because of our being just silly enough to 
allow ourself to be born a "for-eig-ner." We assure you, 
Mr. Mitchell, we cannot withhold our heart-felt sympathy 
from you, or any addle-pated jackass who uses the space 
of a technical publication for the purpose of giving ex- 
pression to any such driveling idiotic chatter. 



SEVENTH EDITION 



HAPPLE HUTCHESON-DR. WAMPEN LECTURE 



The Mas 



-WITH ILLUSTRATIVE DIAGRAMS- 



Delivered by SPECIAL REQUEST in Sartorial Hall, Chicago 



tep 



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°r$> 



Worlds' Fair Year 

18Q3 



ORGANIZED 



*nd 



Custom Cutter 



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socv 



atv 



oW 



f Chicago 



AUGUST, 1887. 



Officers for 1893. 

President, GEO. W. Du Nah. 
Vice-President, Wm. Fatchile. 
Financial Secretary, A. L. Anderson. 
Treasurer, Chas. J. Stone. 
Recording Secretary, A. Starek. 
Corresponding Secretary, H. M. EnrighT. 
Forman of Practical Work, C. Sachtleben. 
Librarian, Paul DiTTman. 



PROEM. 

: ' To hide true worth from public view, 
Is burj'ing diamonds in their mine ; 
All is not gold that shines, 'tis true, 
But all that is gold ought to skine ! " 



Our Master Tailors' and Custom Cutters' Association 
is reputed the largest and most progressive in the 
world. By endorsing J. Happle Hutcheson's opinions 
and technical work, the society has honored him as no 
other cutter has ever been honored since the inception 
of the Association. 

Mr. Happle HuTCHESON.being an old student of Dr. 
Wampen's, and well known to the trade as a successful 
cutter, able writer and teacher, the Master Tailors' 
and Custom Cutters' Association invited him to 
come to their Sartorial Hall and there expone the 
long famous Dr. Wampen's system of Anthropometry. 
In response to the invitation, Mr. Hutcheson came 
forward, and true to his reputation, he handled the 
subject in such an admirable manner, the Society voted 
that " The Hutcheson-Wampen lecture and diagrams 
be published by the Society for the benefit of the trade 
and sold at a price just covering cost of publication, so 
that cutters at a distance might have an opportunity 
of participating to some extent in the benefits accru- 
ing from such able, edifying and practical demonstra- 
tions." It was also advised that lectures and object 
lessons be given from time to time on kindred subjects 
by men of known ability, who are able to present 
original seeds from whence spring vast fields of new 
thought, that may be further cultivated, beautified and 
enlarged, and that said lectures be published by the 
Society. The Executive Committee reserving their 
veto prerogative. — F. M. King, Editor. 



J. HAPPLE HUTCHESON 

At the Sartorial Club, speaks eloquently of DR. WAMPEN 

and his works, and gives a Practical 

Exemplification, 



After calling the meeting to order President 
George W. Du Nah, addressing the assembly, 
said : 

Gentlemen: — When I received Mr. Hutcheson's 
letter stating that in compliance with the expressed 
wish of the President and a number of the members of 
our Association, he would hold himself in readiness to 
give us an exemplification of Dr. Wampen's science of 
anthropometry, as applied to all the varied forms of 
shoulders, etc., there was no time lost in unnecessary 
preliminaries, and on Secretary Enright notifying the 
members of our Association, the fame of the author of 
the system and the known ability of the lecturer com- 
bined to create quite a flutter of anticipatory pleasure, 
resulting, I am glad to see, in a bumper house, and I 
now have a most pleasurable and easy duty to perform 
in asking your careful attention to the subject to be 
handled by the able lecturer of this evening, who, 
although not a member of our Association, kindly and 
frankly consented to favor us with an exemplification 
of this long famous system, which is regarded through- 
out Europe and America as the mother of Sartorial 
Science. I am happy to see that the announcement of 
the lecture has filled our hall with the best class of the 
members of our profession, and I feel doubly happy in 
the foreknowledge of the fact of the lecturer being 
master of his subject. It is, therefore, quite unneces- 



sary for me to occupy your time in giving any expla- 
nation concerning either the fame of the author of the 
system, or of the ability of the lecturer, each of which 
is well known to the trade ; and should it so happen 
that there be any present who do not chance to know 
of either the author or the lecturer, I can assure them 
that they won't be allowed to remain in the dark, as 
Mr. Hutcheson is equal to the occasion. 

Mr. Hutcheson, on stepping to the front of 
the platform, addressed the assembly as fol- 
lows: 

Mr. President and Feuow Craftsmen: — Seeing 
that it has already been made plain to you — the chief 
cause of my presence here to-night — I shall not trifle 
with the time of this large and able assembly of the 
cream of our trade by giving further explanation, but 
apply myself to the work that lies before me, and at 
once proceed with my executive share of this business 
meeting by giving to you an exemplification of the 
world-renowned Dr. Wampen's science of anthropo- 
metry, which, reduced to plain Anglo-Saxon, signifies 
man measurement, or the science of the structure of 
the physical functions of every section of the human 
body, as applied to any or all of the various forms of 
shoulders, including those of the very high and short 
necked, as well as those of the low, extremely oblique 
and long necked order; also the short thick-set, and 
tall slim figures, which to many cutters, from the very 
beginning of the rule of thumb age and down even to 
the present time, have proved a source of much per- 
plexity. The cutter who uses a system that does not 
lay down a specific law for the producing of a surface 
to cover the surface of all the varied degrees of dispro- 
portion as found in each, or combined in all of the 
eight heads or sections of the human figure, is of 
necessity compelled to laboriously plod through his 
work, often in a state of prespiratory trepidation, pro- 
ducing a mental strain that causes him much worry, in 
cases even where there actually exists no necessity for 
the slightest concern. The diagrams that I have 
drafted and brought with me to be used in the elucida- 
tory work that I have undertaken to discharge, will 
assist me, I hope, in proving to the entire satisfaction 
of the most skeptical of the learnedly practical critics 
here to-night, that Dr. Wampen has not only laid down 
a most admirable rule for the guidance of the cutter, 
but, that in his system of anthropometry he has given to 
us an ever unerring, inflexible, scientific law — an accu- 
rate knowledge of which enables the cutter to take hold 
of and handle the most uncommon forms of men with 
that degree of intelligent confidence in his own ability 



to fit and please his customer, that Rarey the horse- 
tamer was ever wont to display when approaching the 
most inveterate kicker that ever plunged in a sur- 
cingled martingale. 

I have not incorporated into any of my diagrams an 
illustrative draft in the treatment of the degrees of dis- 
proportion of chest and waist, so admirably and accur- 
ately arranged, preserving as it does the balance in the 
distribution of increase of breadth or length as correct- 
ly as the beam of the apothecary's weigh scales meas- 
ures out the balance of avoirdupois,because I am deeply 
enough conversant with the detail work of this system 
to be fully alive to the fact that I could not in one 
night do anything like justice to all of the varied 
forms of disproportion as correctly provided for by this 
most learned recluse German philosopher and famous 
scientific anatomist, whose system of anthropometry 
stands technically in the same relation to the work of 
the cutter as Euclid does to that of the geometrician. 
Dr. Wampen having given to our trade a sartorial tes- 
tament, an ever reliable text book, many cutters have 
taken it for granted that he at some time or other of 
his life had worked at the tailoring trade. Such, how- 
ever is not the case ; Wampen never worked at our 
trade. He was a learned German gentleman of leisure, 
and lived and died recently in the quiet retirement of 
easy circumstances. A German tailor happened to call 
at the Doctor's residence, where he saw a diagram of a 
human "cuticle," or skin, lying on his table. The 
tailor on looking at it felt satisfied that the draft re- 
vealed to some extent the hitherto occult mysteries of 
sartorial science, and, therefore, entered into conversa. 
tion with the Doctor auent the subject of garment cut- 
ting, and suggested that Wampen apply a portion of 
his easy leisure to the working out and perfecting of a 
system of garment cutting on a scientifically adjusted 
basis, as applied to the drafts of the variously formed 
and malformed human skin diagrams as shown to him 
by the Doctor, who at the time just laughed at the idea 
of his becoming a cutter of men's clothes, and a teach- 
er of tailoring to tailors; but the little German tailor 
happened to be one of those men who knew a good 
thing when he saw it, and being persistent, his contin- 
ued importunity in due course of time prevailed, caus- 
ing the Doctor to reduce the art of cutting to the true 
basis of a scientific standard, and thereby came about 
the discarding of the primordial , garbled methods of the 
good old thirds and fourths, "rule of thumb," cutters 
of the "rock of eye order,"who had to depend so large- 
ly on their own judgement and practical experience, 
as distinguished from a knowledge of scientific princi- 
D pies. Many tailors have undertaken the private study 



and practice of the Wampen system who have reluc- 
tantly been forced to cast this labor saving gem aside, 
because of the difficulties they experienced in master- 
ing the work, which the learned Doctor has dressed up 
in rather heavy-weight, pedantic, scientific, anatomical 
phraseology. And yet this system of anthropometry, 
when shorn of its scientific technical diction, as I shall 
here present it, at once becomes so very facile to the 
average understanding and so easy to practice, I feel 
satisfied that after I explain it, the great bulk of you 
will agree with me in declaring the system the very 
quintessence of simplicity, or simplicity simplified; and 
I may here add, at the risk even of being suspected of 
carrying a Wampen wheel-piece in my hat, that all 
intelligent Wampenites whom it has been my privilege 
to meet frankly concede that there are throughout 
Europe and America a number of good systems in 
daily use; but I have never met a well-posted Wam- 
penite, who, on having an}' good quality or point of 
any good system shown to him who could not then 
and there show exactly the same good feature treated 
by Wampen with scientific accuracy — so far reaching 
and so very complete is this system yclept anthropo- 
metry — which, although it is now over fifty years old, 
I know that I stand safe from intelligent contradiction 
in declaring it to be at least fifty years in advance of 
the scientific knowledge of our modern system makers, 
whose strained efforts to equal or excel Wampen, 
although feeble, are laudable as being assiduous ; but, 
in their indiscreet zeal those feather-weight authors 
seem to ignore that which has already been rendered 
true, and overlook the unfortunate fact of their so- 
called " new system " — being but a vertiginous whirl 
of adjacent angles, lacking any addition to the light of 
knowledge, they having worked in direct opposition 
to the method of the divine geometrician, which in the 
beginning created time alone, delaying its material 
creations until the sun had illuminated space; but our 
modern system makers begin by giving us the fruit of 
their labor in the form of squares, elliposids and 
angles.without any increase to the light of knowledge, 
the great bulk of them having commenced in the 
gloom, they worked down through the gloaming and 
wound up in the darkness and confusion of theory and 
practice. 

Some cutters evince an unbounded admiration of 
old methods, as others too easily embrace novelty, and 
but few can preserve the just medium so as to neither 
tear up what the old authors have correctly laid down, 
nor despise the just innovations of the modern system 
makers ; and, therefore, we now have something 
approaching an unlimited combination of ancient and 



modern fallacies. Some authors have applied them- 
selves too much to particulars and neglected essentials 
in the main structure, while others lose sight of detail 
work, their fixed gaze being centered on the main 
structure only, these two species of contemplation are 
found so harmonically symmetrized in the Wampen 
system, that the combined skill of the most ingenious 
of our modern system makers is made to stand in 
dumb amazement when critically brought brow to 
brow with the Wampen system, which the most skilled 
practical critics of Europe and America have long ago 
pronounced, and still declare it, the cutter's " ne plus 
ultra," a proclamation the correctness of which I here 
demonstrate by the extreme cases I have selected for 
my exemplification of the system, which I know to be 
equal to any emergency. The merits or demerits of a sys- 
tem or principle is never so fully demonstrated as when 
applied to extreme cases.and, being mindful of this fact, 
I have selected extremes that are not met with except 
by very few but once in a lifetime, so that you may the 
more easily point out to me the weak points, if weak 
points there be, in this system as laid down by Dr. 
Henry Wampen, one of the most learned German 
scientific anatomists that ever lived, and who by the 
merest accident was lured into the work of reducing 
the art of cutting to a scientific principle, none except 
those who have but a superficial knowledge of the 
work ever venture to attack it, and the paralogizing of 
sciolists only catch the ear of the over credulous.- 
There are also a number of bolder spirits if not greater 
geniuses, who think themselves at liberty to overturn 
accepted established scientific principles, and make way 
for themselves and their opinions, which when closely 
inspected are found to be but repetitions of the same 
thing in point of invention, different only in point of 
treatment, and so, the real discoveries, though at first 
view may appear numerous, prove on examination to 
be but few, as to the point of usefulness ; the philoso- 
phy we principally receive from them must be ac- 
knowledged puerile or talkative, rather than genera- 
tive, as being fruitful of controversies, but barren in 
effects, and as the subject before this assembly has its 
deserts and its forests, our object is to find, not agree- 
ments, but arts, not what agrees with principles but 
principles themselves, men often seem to erect an art- 
but in reality only corrupt the labors of their predeces- 
sors, having built on a fallacious or weak foundation, 
they gain a mere volatile fame, and even that is 
secured because of the imperfect knowledge we have 
of the discoveries in the arts and sciences of our pro- 
fession as made public in different ages and countries, 
and still less do we know of what has been done by 



particular persons, and transacted in private, for we 
have no official records of the births or miscarriages of 
the labors of our scientific system makers; others again 
commit themselves to mechanical experience, yet 
make their experiments at random without any method 
of inquiry; very few of this class of workers have any 
noteworthy views, but esteem it a great achievement 
if they make a single discovery, although it lead them 
into deeper error and lands them in an inextricable 
eutopian labyrinth of the mind, w ere the collective 
mass of our trade literature, art and science, weeded 
of its fables, its renascent transmutations, opacous quo- 
tations and frivolous dispute anent the philology of 
crookedness, straightness, length, breadth, or depth, it 
would shrink into a marvelously small cone; the base, 
the apex, the segment, the parabola, the dodechearone 
octahederon or hexoctahedron, conjunctive points of 
which are all so amply and accuratively arranged and 
adjusted within the narrow limits of Dr.Wampen's co- 
ordinates, as worked out in his system, which for the 
last fifty years has stood invulnerable through the 
many critical tests as intelligently applied from time 
to time by the ablest cutters of Europe and America ; 
and now a learned man of Gotham comes from the 
east "with a new light," or " cone system, the apex of 
which is in the neck point, or middle part of the hyoid 
arch," the Wampen system according to this gentle- 
man's statements is crude in principle, awkward in 
construction, and unreliable in practice ; as compared 
with his new system, we have heard this gentleman's 
assertions, and now calmly await the production of 
his proofs, but how he hopes to upset the Dr. Wampen 
system, which he as yet has not learned how to use, is 
a proposition the solving of which is away beyond 
the strained reach of my understanding. In contem- 
plating the numerous methods of cutting as produced 
by the many "authors" of systems, our mind is drawn 
from those over whom the towering genius of Dr. 
Wampen seems to bend, attracting us by the colossal 
worth of his principle, as seen in the clear simplicity 
and solid scientific foundation upon which it is con- 
structed, with its far reaching accuracy of details; 
whether we regard this learned author for the variety 
of his talents, the soundness of his j udgment,the depth 
of his penetration, the acuteness of his sagacity, the 
stability of his reasoning faculties, or the extent of his 
knowledge, he is equally the subject of astonishment 
and admiration, the clearness of his plan of construc- 
tion, his precise demonstration of cause and effect, his 
logical method of procedure in the practical arrange- 
ment of the most trivial detail work, each of which in 
themselves are as unimportant as a single letter or 



punctuation mark would be to the complete works of 
the immortal Shakespeare, or the never dying written 
constitution of America; it is the posession of a thor- 
ough knowledge of those minor matters and the abil- 
ity of the author to gather them in, and harmonously 
blend them, that produces the perfect whole, and it 
took the genius of Wampen to investigate our methods 
of procedure to give to cutters this complete system of 
simple elegance. 

A few cutters of the Pharisee type have approached 
me in the spirit of the quibbler and scorner, while many 
have come to me imbued with the spirit of the"learned 
of Israel," who approached the Nazarine in search of 
a knowledge of the truth, and put the query, "How 
think you was it possible for a doctor, no matter how 
learned in the art and science of producing a surface 
to cover a surface, but who had never worked at the 
trade, to be able to make a system that is more simple 
to learn and practice, and so much more perfect in its 
practical results, than the systems of practical tailors 
who have become gray in their practice as cutters? " 
I have simply to answer such complex questions by 
reminding the inquirer of the well known biographic 
historical fact that Wampen has given to cutters a 
science, as the blind Milton gave to the world a picture 
of Paradise, or like the deaf Beethoven, who, leaning 
over his piano invented and produced music strains 
which he could never hope to hear. Milton saw not, 
but his picture of Paradise is matchless. Beethoven 
heard not, yet he composed symphonies and oratories 
the eurythmy of which is unsurpassed. The genius 
was in the men and they delivered it. Arts may be 
acquired by application, proportions and attitudes may 
be learned and repeated, mathematical principles may 
be, and have been comprehended and adopted ; but, 
there never has been hewn from the marble a second 
Apolla Belvedere ; the ideal dwelt in the sculpture's 
mind and his hand finished the statue, which teaches 
the world, and so with Wampen. While searching out 
the latent treasures of our old authors, we should be 
mindful to analyze the doubtful, of ancient and mod- 
ern alike, so that we may be able to intelligently 
accept what is good and reject the undesirable. 

I am well aware and ever mindful of the fact that 
enthusiasts are apt to be carried away by the ex- 
cess of their enthusiasm far beyond the boundery line 
of common sense, and make bold and extravagant 
statements in the extolement of the supposed or real 
supereminency of their pet and oft times hypothical 
and therefore totally impracticable daily bread and 
butter earning theories. I say I am well aware of this 
too common weakness, and in all my assertions I have 



cautiously avoided it, and erred only on the side of 
truth, as I will prove by giving you the incontrovert- 
able evidence of the integrity of my statements. 

Just last week I was asked, "What sort of system is 
Wampen's ? " " It is a system for cutters to use in 
drafting patterns for men's clothes," I answered. 
' ' Yes, but is it a breast measure or shoulder measure 
system ? " To all such queries I answer, that depends 
altogether on what sort of system you wish to make 
of it; it is a " breast measure system ; " it is a "full 
height " or "ground length system; " it is a "division- 
al " or " sub-divisional system ; " it is au " altitudinal 
or longitudinal system ; " it is a "shoulder measure- 
ment" or "admeasurement system ; " it is an "angula- 
tor or mathematical system ; " it is a " circumferential 
or diametrical system ; " it is a "cone system," the 
apex of which is located in the hyoid arch; it is an 
"anatomical," "geometrical" or "trigonometrical sys- 
tem;" it is a "perpendicular or horizontal line system;" 
it is a " parallel or square line system ; " and, if you 
want an "allegorical system," on which you can soar 
to the top tower of the temple of fame in the seventh 
heaven of Utopian sartorial bliss ; I say, study Wam- 
pen's system of anthropometry. 

Those who wish to follow the profession of a cutter, 
need not hope for much success in Chicago, or any of 
the great business centers of America, but more 
especially Chicago, unless they be thoroughly posted 
in the laws of cause and effect as applied to garment 
cutting, so that they may be equal to all emergencies 
to form garments for customers whom they have never 
seen, and be able to cut from measurements taken by 
country grocers, hardware merchants,etc.,who have no 
technical knowledge of our art. Sight must not be lost 
of the important fact that of late years the tailoring 
trade has undergone remarkable changes; it is but a 
few years since the "Special" or country order trade 
devolved upon Chicago; and the employing of travel- 
ers to solicit orders and take measures, although of 
only recent introduction, is ever on the increase; those 
cutters who are called on to cut such orders, will find 
themselves unequal to the duties devolving upon them 
if they do not understand how to harmonize measures 
with height, form, age and weight; and this system, as 
you can so plainly see, has all of those special features 
treated with scientific accuracy, and in a manner dis- 
tinctively its own ; and, as Wampen truly says, ' ' As 
nothing stands still in nature, but is fluctuating in 
quantity as well as form, thus altering in dimension as 
well as position, the human body becomes also subject 
to those fluctuations; and hence this is true of its ratio 
which sometimes to the negative side diminishes ; or 



to the positive side increases, deviating from its primi- 
tive ratio, and becoming in this manner abnormal ; as 
such again causes the co-ordinates in the model which 
express those ratios, must increase or decrease, so we 
come to the abnormal forms of the models both in 
position and dimension in the same manner as we 
have come to a knowledge of the abnormal forms of 
the human body, and are therefore always enabled to 
construct the model in complete agreement with the 
form and size of that body, whatever they may be." 

While you honor me with your earnest attention to 
what I have got to say and lay before you, I wish you 
to bear in mind the fact that I have no new fundamen- 
tal principles to bring down to you this evening, nor 
can I claim any personal merit for the production of 
any of the principles of cutting that I am about to 
present to you, which will only be an exemplification 
of what in part was taught to me when receiving my 
early technical education from one of the ablest 
authors and teachers of cutting that Europe ever pro- 
duced. The sciolist, whose pride is usually as great as 
his ignorance, is always on the still-hunt for something 
new and better than the system he has acquired but a 
superfical knowledge of, while in the density of his 
own ignorance, he, with a supercilious I-know-it-all 
swagger, disdainfully ignores the old; the result is the 
ever running stream of years is constantly carrying 
down to us on its surface much that is light and tumid, 
while the ponderous truths and solid gems of learned 
authors, of the Dr. Henry Wampen and Dr. Darwin 
Humphrey's type, are allowed to sink and become lost 
in the dark depths of oblivion; hence the concealment 
of much revealed truth, the obscurity of that which is 
of true excellence; the consequent entanglements of 
ill constructed, imperfect, barren systems that come 
floating down stream, propelled by the wind of their 
authors, and exhibiting in their generalities only the 
counterfeits of perfection, meager in details, suspected 
by their makers, and therefore defended and propoga- 
ted by artifice and chicenary. In all earnestness I ask, 
especially those who are in the adolescent stage of 
their trade to handle thoughtfully what they have 
already learned, that they may the easier perfect the 
old and lead on to the new, being equally inclined to 
cultivate the discoveries of antiquity as to strike out 
fresh paths and pastures green; ever mindful that 
those who are capable of taking in but few considera- 
tions, easily decide, act hastily, err often ; misunder- 
standing the ultimate end of knowledge, which some 
men covet out of a natural curiosity or inquisitive 
temper; some to entertain the mind with variety and 
delight; others for ornament and reputation, a few 



for contention and victory. Some for a livlihood only; 
others for a hoard of mammon, and but very few for 
the sake of employing the divine gift of reason for 
their own benefit in common with their fellow man. 
" But for a' that, and a' that," the day is fast ap- 
proaching, when cutters " the world o'er, will broth- 
ers be for a' that." And now I say, let us all join 
in making the light shine before men, that they may 
see the good work and glorify the author. 

Throughout the delivery of this oration, 
the audience were held in rapt attention. At 
the conclusion of the lecture, Mr. Hutcheson 
displayed on the easel, his beautifully drafted 
diagrams, all of which were executed in trio 
colors, showing in each of the diagrams the 
normal, as per solid lines. Diagram A illus- 
trates the scientific yet admirably simple prin- 
ciple of treating or providing for local abnor- 
mal increase or decrease in shoulder level, as 
per dot, and dot and dash lines, as shown in 
upper, or shoulder level section of draft of 
back and breast, the depth of scye measure 
being 8, 9 and io)4, the difference being all 
found in the upper section of depth of scye. 
Diagram B reverses the position of increase 
and decrease in depth of scye points, while the 
actual depth remains the same, 8, 9 and io*4; 
the shoulder levels of diagram in this case are 
all alike, but the increase and decrease is all 
confined to the shoulder blade section ; in 
illustration of the extra erect small shoulder 
blade form, and the extra full-backed or large 
shoulder blade form, these illustrations also 
show how the abnormalities that turn up in 
each or all of the " eight heads of the human 



body," are treated each in their own section 
or part of a section, independent of the other. 
The vexed question of straightness and crook- 
edness, depth and width fallacies, all appear 
as vapor before the wind, when explained or 
illustrated by this system; each of the eight 
heads or sections are handled independently 
of the other, all of which have their units of 
the whole; to regulate distance to points, and 
like the propositions of Euclid, till demonstra- 
ted, seem puzzling, but when demonstrated 
the mind at once receives them by a kind of 
affinity, as if we had known it all before, so 
very lucid was Mr. Hutcheson's masterful ex- 
emplification of the detail work of the system. 
Solid lines of Diagram C illustrates the nor- 
mal 36 breast, and 5 feet 4 height; or 56 inches 
"ground length," with dotted lines showing 
an increase in width to 51 breast measure, 
without any increase in the height or depth 
points, while dotted and dash lines show an 
increase in height or depth points to 7 feet 5, 
or 77/8 inches ground length, but without 
any increase in the breast measure 36. Dia- 
gram D shows scale of division of the two 
heights as used in the illustrative work of the 
lecturer; and Diagram E shows the system as 
produced with the standard unit points in 
plain figures. The cutter who applies himself 
to the study of what we have given him and 
has any suspicion of not having got his 
money's worth will please forward his name, 
address and photograph to the foreman of 
practical work. — F. M. King, Chairman of 
Printing Committee. 



The Mail WhO DeSireS to learn the cutting should select a system by the 
study of which he gains a true knowledge of the concrete or rock bottom fundamental 
laws of the art, and thereby secure a knowledge of bis trade that will enable him to test 
the correctness or incorrectness of the principles upon which other systems, that from 
time to time come under notice, are misconstructed ; there is no other system extant that 
will do this as the Wampen System does. To all who contemplate a successful cutting 
career we recommend a reading of the Happle Hutcheson-Wampen lecture, as delivered 
by special request, and duly consider the statements therein made, AS ENDORSED, 
PUBLISHED AND SOLD TO THE TRADE BY THE MASTER TAIL- 
ORS' AND CUSTOM CUTTERS' ASSOCIATION, which is claimed to be the 
largest and most progressive of its kind in the WORLD, 

WHY SHOULD I LEARN THE CELEBRATED 
DR. WAMPEN'S WORLD-RENOWNED SYSTEM OP ANTHROPOMETRY? 

1. BECAUSE it is a time saving gem as perfect as arithmetic science is perfect, easy to 

learn and simple to practice. 

2. BECAUSE the Wampen System never yet made a misfit, although cutters who use it 

sometimes do, just as the most accomplished arithmeticians at times give out the 
wrong change. 

3. BECAUSE it is as perfect in preserving the balance, in distributing the increase and de- 

crease in length and breadth, as the apothecary's weight scales are in measuring out 
the balance of avoirdupois. 

4. BECAUSE for more than fifty years it is the system by which all the learned makers of 

systems, throughout Europe and America, test the accuracy of their own methods, it 
being the same to the cutter that Euclid is to the geometrician. 

5. BECAUSE all well posted Wampenite cutters on being shown any good point of any 

good system can there and then show exactly the same good feature as treated by 
Wampen with scientific accuracy, so far reaching, all embracing, and so very complete 
is his system of anthropometry. 

6. BECAUSE you will then have a thorough, practical knowledge of the very quintessence 

of fundamental principles, as laid down by the most learned scientiest that ever made a 
system, that will always accurately produce a surface to cover the surface of any and 
every form of humanity, no matter what the size or shape. 

7. BECAUSE the Wampen System of Anthropometry, like the split in the pen as invented 

by the Egyptians (three thousand years before Christ) for conducting the ink to the 
paper, has never been improved upon and 7iever can be. 

OUR BLOCK PATTERN DEPARTMENT. 

Single-breasted sacques 14 sizes, 33 to 46 breast. .$7.00 

Double-breasted sacques 14 7.00 

Cutaway frocks 14 7.00 

Single-breasted Prince Alberts 14 " " " " 7.00 

Double-breasted Prince Alberts 14 7.00 

Evening dress coats 14 " " " " " 7.00 

Tuxedo semi-dress coats 14 7.00 

Fly front top coats 12 " " " " " 7.00 

Double-breasted top coats 12 " ■■.■■■ 7.00 

Vests 14 " " 3.50 

Trousers : 14 " " " " " 3.50 

Special drafted patterns for individual customers, either body 
fitting or sacque, under or over coat (top coat measures should be all 
taken over under coat), $1.00 each, and in parcels of four or more, 75 
cents each. Special drafted patterns of either trousers or vests, 50 
cents each. 

"WHEN OVERTAKEN BY SICKNESS OR PRESSURE OP BUSI- 
NESS, SEND MEASURE IN TO US, GIVING DESCRIPTION OP 
FIGURE FORM AND STYLE OF GARMENT. WE PREPAY EX- 
PRESSAGE ON ALL PARCELS. NO ORDER FILLED UNLESS 
ACCOMPANIED WITH PRICE. 

J. HAPPLE-HUTGHESON 

6616 INGLESIDE AVENUE 
CHICAGO 

MAYER & MILLER CO., SB FIFTH AVE., CHICAGO 



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A Full Course of Instructions in Coat and Vest 

Cutting for $30.00 

It is a common saying- that the average man would rather do one day of manual labor 
than one hour of study; believing this to be in a measure true, and knowing that a large 
percentage of our craft are ever prone to side step that which at first glance seems prob- 
lematical, we have withheld from publication in our Americanized Wampen much of the 
detail work of the Wampen science. Rather than hazard chilling the ardor of this 
numerous class of readers by giving them a lot of prosy, yet very instructive complex 
details, illustrating the system's simple, yet all embracing merits; in providing for the 
special, or individual requirements of over three hundred different figure forms, which 
anthropometric science proves that we as tailors are from day to day called upon to appro- 
priately costume; but be it ever remembered, that while these details are not 
given in our book, the cutter with a mere basic and surface knowledge of 
the Wampen System is very much better equipped for a satisfactory dis- 
charge of his cutting room duties than be who has a complete knowledge of 
any of those systems that are worked out by the divisions on the common 
square. We find however that many of our most progressive readers are desirous of 
obtaining a thorough posting in all the detail work of the system, and to meet this ever 
increasing demand, we have arranged to give purchasers of our book a by mail corres- 
pondence course of instruction, which includes the providing for lop-sided men, hump" 
backed men and men with hump on one side, with the other side normal. There is no time 
limit to this course of instruction; it is continued until the cutter receiving it proves 
himself thoroughly proficient in all the detail work. 

For the special information of the reader who desires to know how we at a distance 
manage to prove the practical efficiency of cutter taking our by mail correspondence 
course, we answer. Our tests are numerous and varied. For example, when the 
student reaches a certain stage of progress, we advise him to make a draft for some specific 
size, say 35 or 45 chest measure, with shoulders either sloping or high to the extent of 
11-16 more than normal. Extra erect, or round backed to the extent of % more than 
normal. Strap ]/ z more or less than norma!. Blades ?g less or more than normal. Waist 
Z l / Z inches in on the first degree of disproportion, or say 2 inches in on the second degree 
of waist disproportion. We furnishing the breast measure only. When draft is received, 
measured up, and if found correct in every particular of size, and figure and form as 
described, we know that he is capable of cutting with satisfactory scientific accuracy, for 
any degree of emphasized individuality. It is this sartorial art, life throbbing, simple, 
satisfactory completeness of our Americanized Wampen System that is revolutionizing 
cutting room practice. Instruction begins immediately on receipt of the price, $30.00. 

.1. HAPPLE-HUTCHESON, Chicago. 



:4 £ 



APR 22 1907 

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APR 22 1907 



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A GRATIS SHEET 

OF OUR COPYRIGHTED 

Drafting and Grading Scales 



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We present this set of our copyrighted 36 UNIT SCALES so that 
the purchaser of our Americanized Wampen Science may be able to 
verify the correctness of our assertions by putting the system to a most 
strenuous practical test, proving the genuineness of the principle by 
drafting and cutting any size, or the whole range of sizes, before spend- 
ing his cash in purchasing our set of heavy-weight working scales, with 
eyelet-holes, and conveniently strung on a split ring, all of which we 
will furnish for 

$ 1.25 per Set 

J. HAPPLE-HUTCHESON 

CHICAGO 



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